Roger Ebert Reviews

It’s August 1968. Joy (Elizabeth Banks) accompanies her lawyer husband Will (Chris Messina) to a swanky partner’s dinner and is drawn outside by the sounds of a violent protest. Joy hovers behind a line of policemen, in a stand-off with the yippies, all of whom scream in unison, “The whole world is watching!” Joy, protected […]

A deep understanding of film history melds with the passion of a true lover of the form in the excellent documentary “Is That Black Enough for You?!?,” which shapes the history of Black cinema up to and through one of its most vital chapters in the 1970s. New York Times critic Elvis Mitchell wrote, narrated,

In “Armageddon Time,” people keep trying to wake up 11-year-old Paul Graff (a sensitive performance by Michael Banks Repeta). Paul is a slight, dreamy sixth grader in 1980 Queens, New York. Over the span of two months, from the first day of school until the family watches the returns of the Presidential election in November, we repeatedly

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“Louis Armstrong‘s Black & Blues” reflects on the life and art of the legendary performer by delving into his records—not just all the ones he recorded on vinyl. Director Sacha Jenkins (“Everything’s Gonna Be All White”) was given access to the Armstrong estate’s collected materials, which includes decades’ worth of news clippings, reviews, and photographs;

In an era where movie scores often favor ambiance or electronic soundscapes, Jon Brion remains a champion of melody. Much has been written about his work with filmmakers like Paul Thomas Anderson and Michel Gondry. In films like “Punch-Drunk Love” and “Eternal Sunshine of the Spotless Mind,” Brion’s music evokes the lush soundscape of a Hollywood musical. His is a

Given their propensity to go big, there’s something refreshing about seeing Jessica Chastain and Eddie Redmayne play minor keys in Tobias Lindholm’s “The Good Nurse,” which premiered at TIFF before an October bow on Netflix. The problem is that the whole movie is in minor key. It’s as if respect for the admittedly brave protagonist

When the 19th BendFilm Festival held its in-person screenings this month in Bend, Oregon, one of its guests of honor was Oscar-nominated filmmaker Tamara Jenkins, who was honored by the programmers with the title of Indie Woman of the Year. Two of her films—her 1998 debut feature, “Slums of Beverly Hills,” and her latest work,

Sean Harris has always had a fascinating screen presence, one that’s slightly unstable and unsettling. He swallows some lines in a half-whisper and makes great use of a hollow, vacant stare. There’s something that feels haunted about the characters that he plays. And he makes great use of that skill set in Thomas M. Wright’s

It’s the spookiest season! And it’s the time that every studio with a decent catalog digs in and unleashes special editions of their horror classics. This month brought enough new Blu-rays and 4K releases for the horror nut that we thought it best to break them out into their own column. It’s not too late to