Roger Ebert Reviews

Simultaneously overstuffed and undernourished, frantic and meandering, “Amsterdam” is one big, star-studded, hot mess of a movie. Christian Bale, Margot Robbie, John David Washington, Robert De Niro, Anya Taylor-Joy, Rami Malek, Chris Rock, Michael Shannon, Zoe Saldana, Alessandro Nivola and many more major names: How can you amass this cast and go so wrong? Simply […]

Ruben Östlund’s “Triangle of Sadness” has become one of the more divisive Palme d’Or winners in years. On one side, there are the people who think that its underlined themes and obvious targets are a bit unrefined and obvious. On the other side, there are people who would argue those targets deserve a skewering and

Children and their families have been delighted by the stories about Lyle, the music-loving, scarf-wearing crocodile who lives on Manhattan’s East 88th Street, since the first book in the series by Bernard Waber was published in 1962. An HBO Storybook animated film with songs by Charles Strouse (“Annie”) perfectly matched the book’s colorful illustrations and cheerful story.

The 2022 “Hellraiser,” the horror franchise reboot, often resembles an artful and over-produced tribute to “Hellraiser,” Clive Barker’s kinky and sometimes genuinely nightmarish 1987 shocker. The halting pace, scattered focus, and potent ghastliness of Barker’s movie reflects its nature as Barker’s feature directorial debut, a decent adaptation of his 1986 novella The Hellbound Heart. Watching

“Love doesn’t die, people do.” Ilonka quotes that Merrit Malloy passage in Netflix’s “The Midnight Club,” and it’s really at the beating heart of Mike Flanagan’s ten-episode adaptation of the work of Christopher Pike in that it’s not just about trying to understand the end of life but using poetry and prose to do so.

In their sickly committed, often ingeniously self-documented pursuit of online validation and its associated cultural capital, social media influencers brand themselves as protagonists worth following, an assertion of mass egocentricity that many have dubbed “main character” syndrome. Filmmakers have understandably embraced this newly minted internet archetype, particularly in realms of social satire and found-footage horror

Horror remakes are a tough proposition, especially if the story has already been re-told once. And even more so, when said new remake idea is a series expansion. But showrunner Andrew Hinderaker’s soulful and compelling “Let the Right One In” beats the odds, and is the kind of ambitious project that does well with its precious

I’ve long been a fan of Stephen King’s novellas, and some of them have been turned into great films in the past, including “Stand by Me,” “The Shawshank Redemption,” and “The Mist.” The master of horror’s 2020 collection If It Bleeds opened with a wonderful little ghost story called “Mr. Harrigan’s Phone,” which is now

Deadline‘s Matthew Carey recently published an article about RogerEbert.com publisher Chaz Ebert, who received the FACETS Legend Award at last month’s Screen Gems Benefit (you can read the full article here). Carey spoke with Ebert about how her “early efforts at promoting diversity within the film world came in sponsoring Ebert Fellows to participate in important festivals like