Roger Ebert Reviews

You aren’t likely to see a more rightfully angry film this year than “Athena,” a non-stop opus examining the racism, inequality, and police violence that wreak havoc on France’s banlieue communities of color. That palpable fury rages through the film’s opening sequence, one that director Romain Gavras shoots in a pronounced single take that emphasizes […]

Bunny King (Essie Davis) walks home after a long day squeegeeing car windshields at a busy intersection. She’s made a couple of bucks. She puts the money into a big glass jar of coins and hides it in her closet. Then she gets undressed, taking off her bra. The bra’s underwire has pierced through the

The films of Tyler Perry have been proving themselves critic-proof since his 2005 debut feature “Diary of a Mad Black Woman.” And yet outlets such as this one keep assigning writers to review them. Partially because it’s what they do. But he has always been a creator who demands critical interest. The populist appeal of

To call something “a real Russian movie” might be a peculiar kind of honorific in these times. But the dank, mordantly funny, thoroughly saturated, well, Russian-ness of the remarkable “Petrov’s Flu,” written and directed by Kirill Serebrennikov from an as-yet-to-be-Englished novel by Alexei Salnikov, is one of its signature qualities. It begins ordinarily enough: on

It’s a funny thing, writing about video games for a publication named after Roger Ebert, who famously claimed video games would never be as artistically worthy as movies or literature (though he famously walked back that sentiment, if only a bit, months later). I wonder what he’d think of “Immortality”—the latest from Sam Harlow, who

Every lamp and ladylike cocktail dress, every convertible and clink of a martini glass is a perfect reflection of retro chic in Olivia Wilde’s “Don’t Worry Darling.” Who wouldn’t want to live in the suburban Shangri-la of Victory, with its minimalist, mid-century modern homes and bawdy, booze-soaked dinner parties? Young, attractive families find their every

The Chicago International Film Festival—the longest running competitive film fest in North America, mind you—just announced its full line-up for this year’s 58th edition. The opening night selection is Steve James‘ “A Compassionate Spy,” and the closing film will be Noah Baumbach‘s dark comedy “White Noise.” A long list of exciting titles will play in between during the

Hulu pretends to add more to the algorithm-friendly mania of TV reboots (from “Fuller House” to “Quantum Leap” to “Beavis & Butthead”) with “Reboot,” a witty meta series from Steven Levitan (the co-creator of “Modern Family”). In its best moments, this fast-paced circus of hilarious one-liners and dysfunctional creative relationships depicts the formation of its own family,

Explorations of identity, celebrity, and our own oral histories often make compelling cinema. At this year’s festival three films tackled these themes within three very different genres. In documentarian Alice Diop’s first fiction film “Saint Omer,” a novelist attending the trial of a woman accused of infanticide meditates on the ways their shared immigrant story

How do we grieve people we never really knew? How do we get closure when the only thing that changed was the mortal status of someone who ruined our lives? It’s been a theme of all forms of drama for generations, and Rodrigo Garcia’s “Raymond & Ray” just doesn’t do anything memorable enough to stand