Roger Ebert Reviews

2022 wasn’t really Fantastic Fest’s return to an in-person event, but it felt like it. The festival’s 2021 edition was a scaled down affair, with limited seating capacity and no in-person parties. The festival was also spread out across several Alamo Drafthouses, negating one of the best (and most potentially dangerous) things about Fantastic Fest: […]

A tribute, long overdue in these parts, to the great Lloyd Kaufman, the head honcho at the last of the mini-majors, Troma Team Studios. Lloyd oversaw an empire of bad taste from his little corner of New York and made the world a more special and honest place in the process. Here’s a look at

“Till” tells the story of the murder of Emmett Till and the activism of his mother, Mamie Till-Mobley. It is the second retelling of this story in 2022, after the January ABC miniseries “Women of the Movement.” One may think that two filmed versions of the same story in such a short amount of time

The New York Film Festival always seems to arrive at the perfect time, just as summer’s heat and humidity fade and fall’s enlivening crispness settles in. Having covered the festival for decades, I’m always gladdened to approach Lincoln Center anticipating not only a bracing batch of new films from around the world but also the

Director Wayne Wang’s versatility has never failed to impress. From his debut film, the low-budget mystery-comedy “Chan is Missing,” to the ensemble family dramas “Eat a Bowl of Tea” and “The Joy Luck Club” and “Maid in Manhattan” to the psychosexual drama “The Center of the World” and the indie ensembles “Smoke” and “Blue in the Face,” he seems to

Peter Farrelly’s glib and superficial “The Greatest Beer Run Ever” has the nerve to give several of its characters speeches about how war is nothing like what we see on television or in movies, embedded in a movie that’s about as a realistic about combat, trauma, and death as a high school play. It’s not

Reid Davenport’s great film “I Didn’t See You There” works on two levels simultaneously.  First, it’s a funny, sharply observed feature-length autobiographical film about what it’s like for a disabled man with cerebral palsy to move through a world whose architects barely acknowledge his existence, and whose inhabitants treat him with contempt or condescension when they notice him at all. “The

Scott “Kid Cudi” Mescudi’s new Netflix collaboration, “Entergalactic,” is hard to categorize. It’s billed as a “television event” and an “animated story.” With a 92-minute running time, I am tempted to call it a film, albeit one divided into sections (which show up as chapter titles, not full episode breaks). And yet “Entergalactic” lacks many of

In November, 2008, the New York Times profiled the Accolade, “Saudi Arabia’s first all-girl rock band.” The four girls, who didn’t show their faces in the photograph accompanying the article, were doing their best to chip away at Saudi taboos regarding women performing onstage, men and women mixing in public, women doing anything outside the

A sleazy and neon-soaked ride that splits the difference between a crafty caper and a guilty pleasure, “Mona Lisa and the Blood Moon” is the kind of cheeky flick you can’t help but surrender to. It possess your senses at every one of its madcap turns, and the same could be said about writer/director Ana Lily