Roger Ebert Reviews

Rarely does it matter that Ken Burns’ “Baseball,” an immersive ten-part docuseries about the history of America’s pastime, is built on frustrating inaccuracies, fetishizes an East Coast narrative, or runs out of steam once you get to the modern game. All of those weaknesses fade in comparison to the series’ importance as an oral historical […]

This year’s Ebert Fellows attended the True/False Film Festival, one of the most essential non-fiction cinema events of the year. Here are their reports: KENNEDY CALDWELL The true crime genre has transformed from investigative journalism into a cultural spectacle that blurs the line between justice, entertainment and exploitation. This shift was evident at this year’s

It’s so easy to get cynical about the vaunted “oner.” A staple of 21st-century film and television these days, the ambitious one-shot sequence is, at its best, a massive logistical feat in which a host of actors, cinematographers, cast and crew members, and visual effects artists build an impressively streamlined series of events playing out

“Happy Face” tries to be several shows at once. It’s a procedural mystery about unexpected investigators trying to get an innocent man freed for a crime that he may not have committed. It’s a thin commentary on true crime pop culture and how we turn the worst events in people’s lives into disposable entertainment, often

Here’s how you know you’re having a bad night: Your boss dies under questionable circumstances during a State Dinner at the White House, and everyone around you is certifiably out of their minds. The President and his family: unhinged. The President’s unelected advisor: vain and shady. The staff: suspicious. The Australian contingent, including rumors of

A poignant, slow-fading comedy about two teams running out of time, Carson Lund’s “Eephus” chronicles one final game for an amateur New England baseball league whose beloved field is about to be demolished.  Set in 1990s Massachusetts (and populated by mostly older players whose love of the game far outpaces their grasp of it), the film

Few actors can command the screen with such sincerity and passion as André Holland. His visage is a home for a host of emotions to make their residency and whether he’s working with seasoned directors like Barry Jenkins and Steven Soderbergh or first-time directors like Titus Kaphar and Rachael Abigail Holder, he gives his all,

Annapurna Sriram’s feature debut “Fu*cktoys,” about a sex worker earning a living while undoing a curse, is farce, psychodrama, theological inquiry, softcore, satire, and tragedy, all at the same time. And in an era when nearly everyone has gone digital, it’s been shot on 16mm color film by Cory Fraiman-Lott (another name film buffs should

Women over 50 years young are mad as hell and not taking it anymore. They are tired of being sidelined. They are creating scripts and roles for themselves that allow them to be portrayed as smart, sexy, viable human beings, ones that aren’t sitting at home knitting just because they clicked over into the AARP