Roger Ebert Reviews

What makes the Chicago Critics Film Festival so special (besides the fact that it’s the only festival curated by critics) is that it truly is a love letter to Chicagoan cinephiles.  This year’s festival featured its strongest line-up to date, where over two dozen films had their Chicago premieres at the historic Music Box Theatre. […]

An epiphany can strike like an astronomical event, the way love is like the birth of a star. My latest ah-ha moment arrived with the total eclipse of the sun. I’d been pondering romance. Not any old love, but the magnetism of “historical romance” novels when adapted into movies/shows that celebrate inclusivity. It’s a starry-eyed

If you’re lucky enough to attend an early screening of John Krasinski’s new film, “IF,” you may be greeted with a short introduction by the writer/director, asserting that the film is expressly for all the “girl dads” out there. Having now seen it, that much is true: despite its family-friendly brief, “IF” is less for

The first two screenings of the 77th Cannes Film Festival were of a silent classic so gargantuan that the festival screened only the first half, which itself ran longer than last year’s “Killers of the Flower Moon,” and of a meta farce that negates itself so thoroughly that it’s tempting to ask whether it counts

Back on April 11th, when Cannes Film Festival artistic director Thierry Fremaux and Festival president Iris Knobloch announced most of the films in the Official Selection of the 77th Festival, then a little over a month away (May 14 – 26), there were a number of developments ahead they could not have known about. On

Director Sanjay Leela Bhansali is one of Hindi cinema’s best directors. His name is synonymous with sumptuous costumes, opulent production design, vivid female lead characters, expertly directed songs that function like short films, and soaring music. Actresses over the years have spoken with great admiration for the director’s stewardship over their most nuanced and multidimensional

With their surreal and shimmering “I Saw the TV Glow,” Jane Schoenbrun has made one of the year’s defining films—an eerie and overwhelmingly potent meditation on teenage dysphoria, repression, and representation, in which two high school classmates obsess over a late-night TV series, only for one to disappear completely after its distressing finale.   Growing up

This Tuesday, May 14th, the 77th edition of the Cannes Film Festival kicks off, with a bevy of new and exciting titles from classic and contemporary filmmakers around the globe. Some of the most eagerly anticipated works of 2024 make their debut here, whether in or out of competition for the Palme d’Or.  RogerEbert.com will be

Since their remarkable breakthrough role as a soulful, lonely rancher in Kelly Reichardt’s “Certain Women,” Lily Gladstone has left an indelible mark on cinema and television. Mostly working with writer-directors on small, personal projects, they’ve blazed an invaluable trail for Indigenous and queer representation within the medium with their cerebral, meditative, and singularly beguiling screen

In 2013, my late husband Roger and I launched RogerEbert.com as a stand-alone site separate from our previous partner since 2002, the Chicago Sun-Times. As you know, Roger passed away April 4, 2013, and I made the decision to continue the movie review site in his name. Since Roger’s name is synonymous with quality film criticism, I have endeavored to continue