Roger Ebert Reviews

The Corsican-born filmmaker Paul Vecchiali is probably best known, if at all, in the States as the producer of “Jeanne Dielman, 23, quai de Commerce, 1080 Bruxelles,” the Chantal Akerman picture that raised international consciousness when it topped the once-every-ten-years Best Film Ever poll in Sight and Sound magazine. Vecchiali was also a writer and […]

Years before I learned her story, Shere Hite’s name loomed large in my sociology classes. Her self-titled report about female sexuality was just as talked about as Kinsey’s and Masters and Johnson’s findings. However, in recent pop culture memory, Kinsey got a movie, and Masters and Johnson got a TV show. Hite had been relegated

The third in DreamWorks’ animated “Trolls” series is as adorable as the first two, and irresistible in the truest sense of the word. Even parents who fear they were dragged into the theater and just hope it will be short (well under 90 minutes) and painless will find themselves beguiled. That is partly because the

“May December” starts with a flurry of confusing activity in two different locations. A glamorous woman (Natalie Portman) checks into a boutique hotel, murmuring into her Bluetooth. Another woman (Julianne Moore) is in the final stages of planning a get-together at her waterfront home. She opens the fridge and stares into it. The camera then

Please Don’t Destroy isn’t just a sketch comedy troupe, they’re one of the biggest of the meme generation, breaking through during the pandemic with short videos on TikTok and Twitter enough to get the attention of a comedy kingmaker. Since being hired by “Saturday Night Live” in 2021 as writers, they have filled the Lonely

Movies about giant monsters have a legacy of being talkier than expected, and I’m usually willing to go along with them because there’s a purpose behind the long segments of bureaucratic nonsense in films like “Shin Godzilla” or even the forced POV of a movie like “Monsters.” And it’s understandable, even with the open wallets of

Emerald Fennell follows up the tonal high-wire act of her Oscar-winning feature debut, “Promising Young Woman,” with another tricky and ambitious spectacle, “Saltburn.” Like that 2020 film, which earned Fennell an Academy Award for Best Original Screenplay among its five nominations, “Saltburn” succeeds in slashing our expectations about how people are supposed to behave in

Hardly any original graphic novel across the 21st century has had the same cultural impact as “Scott Pilgrim.” It’s astonishing that the action-romance series by Canadian Bryan Lee O’Malley, about a slacker bass player fighting his new girlfriend’s seven evil exes, has become a transmedia sensation. Scott Pilgrim’s precious little franchise has smashed miscellaneous mediums to

What constitutes a perfect film? A perfect film doesn’t have to be in any particular genre, in any event. A perfect film knows what it’s about, knows what it wants to say, and knows that even when what it has to say is unusually simple, what it says can’t be reduced to words or any