Roger Ebert Reviews

In my final dispatch from this year’s Toronto International Film Festival, I watched three films about families in crisis. In Edward Burns’s drama “Millers in Marriage,” three fifty-something siblings contend with how relationships morph and change as you age. In Seth Worley’s imaginative film “Sketch,” the shared grief of a father and his children manifests […]

Honestly, I wish I could carve out time for more documentaries at TIFF. With over 200 films, it’s a massive endeavor, and the high-profile, star-packed fiction films often demand my attention. However, I did seek out three specifically this year that piqued my interest, and was satisfied with the results. My favorite of the three

When Lisa Taddeo’s non-fiction book “Three Women” hit shelves back in 2019, it became an immediate hit. Featuring the intimate stories of–you guessed it–three women Taddeo followed over years of their lives, the novel gave readers an in-depth and startlingly intimate look into the lives of women who, while so singularly different, are all connected

Don’t go into “How to Die Alone” expecting a laugh a minute. There are jokes, to be sure, and star Natasha Rothwell delivers hers with ease. She’s supported by some great and highly comedic performances, notably Arkie Kandola and Christopher Powell as hilarious workplace duo Shawn and Deshawn, and Jaylee Hamidi and Melissa DuPrey as her

At first glance, it would seem that Muriel (Daisy Edgar-Jones) and her soon-to-be brother-in-law Julius (Jacob Elordi) might be harboring some secret feelings for each other. They hold hands and trade knowing looks just out of sight from Muriel’s fiancé, Lee (Will Poulter). But life–and love–is much more complicated in the 1950s America of “On

You have to feel at least a little bit bad for “Shell,” purely on the basis of timing; this is a mash-up of Hollywood satire and body horror, an exploration of the impossible standards of youth and beauty impressed upon women in general but on actresses in particular, and it’s hitting the festival circuit riiiiiiiiiight

With over two hundred films programmed at TIFF, you notice recurring thematic and narrative patterns. For this dispatch of films, Leo Tolstoy’s famed quote from Anna Karenina kept coming to mind: “All happy families are alike; each unhappy family is unhappy in its way.” Whether it’s Greek royalty, an ex-criminal family, or two writer friends

People were breaking into song and dance at TIFF this year. Mike Flanagan’s “The Life of Chuck” has one of the most charming dance numbers on years, and “Megalopolis” feels like it could become a Baz Luhrmann film on multiple occasions, but it was Jacques Audiard and Joshua Oppenheimer who brought actual, original musicals, with

Focusing on Dan Chase (Jeff Bridges), a former CIA operative forced out of hiding when an old adversary comes looking for him for revenge, “The Old Man” debuted with a sleek pilot—perhaps one of the best of the decade. That, and watching legends like Bridges and John Lithgow in television roles older actors aren’t often