Roger Ebert Reviews

The last few years have been a kind of golden age for movies and TV about middle school. High school has always gotten more attention from filmmakers, possibly because most would prefer to forget the awkward transition from childhood to adolescence. However, those awkward if not painful moments that define middle school can make for […]

In 1970, “Midnight Cowboy,” starring Jon Voight and Dustin Hoffman, won the Academy Award for Best Picture. Two years after the beloved classic family musical “The Sound of Music” won, how does an X-rated film about a man who aspires to be a male prostitute with rich women, but ends up developing a tender relationship

Some memories are too painful for us to carry day to day. There are compartments in our minds where we store our heaviest memories to protect ourselves from despair. This is especially true for traumatic events—happenings so large there’s no control over our reactions. Some people can move on without remembering, but for others, the answers

“God Is a Bullet” is like a mallet to the back of the head. It’s never subtle, demanding that you know its presence while knocking the taste out of your mouth (none of this, unfortunately, can be counted as a compliment). The film attempts to marry the movements common to grisly road movies and grimy

“Black Barbie: The Documentary,” directed and written by Lagueria Davis, is a must see! Vivid colors, thorough data analysis and interviews, and an unblemished storyline anchor the film. The documentary follows the journey of three former workers of Mattel, the company behind Barbie, and the strides they made for the original Black Barbie doll and

Editors: Two years ago, Al Chambles elucidated the importance of Kizzmekia Corbett’s work on the Moderna vaccine for our readers. He returns this year with something you should know about. “I believe that I can shed some light on why the larger community was silent on the mercury problem in Scarboro. An examination of the

It’s been five years since director Boots Riley’s riot of a debut, “Sorry to Bother You,” dominated conversations. With a deft hand that crafted comedy with punchy social critique, “Sorry to Bother You” put Riley’s creativity and contributions to Afro-Surrealism on the map. The style he implemented in that film proves to be not a one-and-done,

Ever since Lashana Lynch burst on the scene as the headstrong, unflinching Maria Rambeau in “Captain Marvel” she has cut a defiant image. That sight was only deepened in “No Time to Die” and “The Woman King,” two films that see her reimagining Black women action heroes. But Lynch did not mysteriously arise from the

Released in theaters this past Juneteenth weekend, Tim Story’s “The Blackening” is a well-scripted, intelligent, and funny movie that somehow seems to break the rules of the horror genre and simultaneously keeps them. “We Can’t All Die First,” the film’s tagline, keenly recognizes the well-known horror trope that if any Black people are in the film,

The American Black Film Festival (ABFF) personifies the glow and energetic spirit of Black creators, and its 27th year felt extremely timely. The featured films, TV shows, shorts, and documentaries exemplified the modern Black experience. The festival draws a global crowd and enhances the international understanding of Black people in the diaspora for its attendees.