Roger Ebert Reviews

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

While there are thrilling and sensational documentaries that feel right at home in the sun-baked and bustling streets of Austin (“We Are Storror,” “Butthole Surfers: The Hole Truth and Nothing Butt,” and “The Python Hunt” are some of the ones that feel tailor-made for gleeful reception from the Austin crowd) there is also always a

Horror is a big part of Austin, Texas. It’s not just the wonderful Fantastic Fest that unfolds every September, but the genre has been a major part of every SXSW I’ve ever attended. Even the Headliners here have an adults-only edge to them from the gore of “Death of a Unicorn” to the murderous betrayals

Three of the more purely enjoyable films to play at this year’s SXSW didn’t premiere with star-studded red carpets at the Paramount, launching at other venues around the wonderful city of Austin. You’re going to want to watch for all three of them. After the premiere of Matt Johnson’s wonderful “Nirvanna the Band the Show

When documentaries center on one person, breadth is often sacrificed for depth. Thankfully, for the most part, three docs at this year’s SXSW are structured less in a way to speedily run through the greatest hits but to create a space for their subjects to meditate and ponder at their leisure. Some are more successful

I’ve found that at this year’s SXSW, it’s easier to spot the thematic throughlines that exist across projects. It’s a testament to the programmers for creating a line-up of where the films feel in conversation with each other. Where else do you get films like “Together” and “Friendship,”–both of which explore the physical and mental