Roger Ebert Reviews

“When something drastic happens, it turns me into something different,” one of the Calendar Girls explains. She is a member of a 50-and-over Florida-based dance troupe that performs more than 100 times a year, wearing fishnets, feathers, “Kiss Me You Fool” bright red lipstick, and lots and lots of bling. “We use magic from our […]

Incantatory passages from Walt Whitman’s Leaves of Grass bookend the underwhelming music documentary “Meet Me in the Bathroom,” a short-sighted, soundbite-intensive remembrance of the New York City post-punk/indie pop rock scene of the early aughts. Mind you, featured bands like LCD Soundsystem, Interpol, The Strokes, and Yeah Yeah Yeahs are not even on break, let alone

“Weird Al” Yankovic stands at the precipice of greatness and next to some hot dog buns when he has another eureka moment. At a party packed with the real Yankovic’s spiritual influences—including Andy Warhol, Gallagher, Elvira, Tiny Tim, Devine, and Pee-Wee Herman—the ascending parody artist is challenged to show his skills on the spot, to

“God of War” has been one of Sony’s most successful franchises of the modern era, both critically acclaimed and commercially massive. You can’t go to a pop culture convention without seeing Kratos somewhere—he’s a character who has transcended mere video game hero to become iconic. The newest game in a series that started way back

Netflix got one of its biggest ha-has (read in Nelson Muntz voice) when it started hosting last year a little-seen documentary called “The Last Blockbuster,” about its title subject and the people behind it. Enough subscribers watched it that it reached a Top 10 spot, creating the kind of ownership that has people associating Netflix with

Enola Holmes (Millie Bobby Brown), the younger sister of Sherlock Holmes (Henry Cavill), returns in this cheeky, breezy sequel that’s better than the original. The character has a better sense of who she is, and the movie spends less time on explaining, more time on action. The mystery at its center is inspired by a

“We are nothing without stories, and so we invite you to believe in this one.” Sebastian Lelio’s fascinating “The Wonder” opens with a prologue that includes this line, one that’s crucial to unpacking the film that follows. Working with co-writers Alice Birch & Emma Donoghue to adapt Donoghue’s own novel, Lelio doesn’t just want you

On the cusp of the 49th anniversary of Roe v. Wade, the landmark decision by the U.S. Supreme Court which ruled the Constitution conferred the right of citizens to abortion, two films about the Jane Collective—Tia Lessin and Emma Pildes’ documentary “The Janes” and Phyllis Nagy’s narrative drama “Call Jane”—premiered at last January’s Sundance Film Festival.

The world of independent film lost a shining star last year when cinematographer Halyna Hutchins on the set of a movie where proper safety procedures were not followed. One of her greatest works was the movie “Darlin,’” a passion project from director and star Pollyanna McIntosh. Hutchins was young and had only been working for a decade

Kartemquin Films, the award-winning Chicago-based documentary organization known for its cutting-edge films, has named award-winning filmmaker, curator and programmer Amir George its artistic director to lead the artistic vision of the organization and to work collaboratively in strategic planning, advocacy and organizational decision making. Tomorrow, November 1st, he becomes the second artistic director in Kartemquin’s storied history and