Roger Ebert Reviews

Some dispatches shape themselves around genre or theme. Some are just random assemblies of orphans that couldn’t find their way into pieces with similar film siblings. This is the latter. Daniel Goldhaber’s kinetic, riveting “How to Blow Up a Pipeline” was like nothing else I saw at TIFF. It has a gritty texture to it

Something is not right with Pearl (Mia Goth), and she’ll never understand why. She’s too set in her ways, like her need to perform on haystacks while dancing with a pitchfork, or murdering animals when no one is watching. She wants to get out of her isolated farm in 1918 Texas, and experience the love that comes

Mondays at TIFF are about the Canadian and sometimes North American premieres of films that have already launched their Oscar campaigns via Venice or Telluride. The programmers want the weekend to be focused on world premieres, but they open the door after the weekend, and this year that led to a wave of likely future

With my final dispatch for the Toronto International Film Festival, I want to return to a question I asked in my first dispatch: Are movies back? And once again, the answer lies in whether they’re good or not. The three films assembled, here, isn’t the rush of quality you’d hope from a festival of TIFF’s

The Academy Museum of Motion Pictures’ new exhibition, “Regeneration: Black Cinema 1898 -1971,” opened on August 21st and runs through April 9th, 2023. Regeneration comprises seven galleries dedicated to: exploring the social and political situation of Black Americans at the dawn of cinema in the United States; the representation of Black people in early cinema from 1897

“Riotsville, U.S.A.,” the title of director Sierra Pettengill bleak and intense documentary, sounds like a provocation on the filmmaker’s part. Then you realize it refers to the actual name of a fictional place the U.S. military created in the 1960’s. On two bases, both named for racists, a series of staged activities were performed against

June and Jennifer Gibbons were Welsh twins born to Caribbean immigrants in the 1960s. Severely bullied and ostracized as the only Black family in the neighborhood, the two receded into each other to an extreme level. Referred to as “The Silent Twins”—the same name as Agnieszka Smoczynska’s biographical drama inspired by their story—they spoke only to

Produced in 2014, “Goodnight Mommy,” an Austrian import from co-filmmakers Veronica Franz and Severin Fiala, was a diabolical and queasily effective item that took one of the most primal of fears—that the people that we know and love have somehow been replaced—and filtered it through an examination of the societal belief in an unbreakable bond

Having already established himself as a fresh voice in the world of documentary filmmaking with his 2002 documentary “The Kid Stays in the Picture,” Brett Morgen truly came to prominence with “Cobain: Montage of Heck,” (2015). The film utilized archive footage and home videos to intimately display Kurt Cobain’s life, leading up to his death.