Roger Ebert Reviews

Mike Schur’s “A Man on the Inside” is a delightfully pleasant charmer, a comedy that’s almost calming as it drops into a tumultuous world. The co-creator of “Parks and Recreation” and “The Good Place” is not only one of the best writers in the history of the form (he also had his hand in “Hacks,” […]

Across the two features she’s made to date, Payal Kapadia has emerged as a luminous new voice in Indian cinema, exploring the personal as political through her shimmering, empathetic portraits of working-class Mumbai.  Her first feature, “A Night of Knowing Nothing,” opened with unsent love letters, from a film student to her estranged lover, discovered

It’s been a long time since a “Call of Duty” game truly entertained me. Sure, I still play them every year, going on two decades now, but it’s felt like the developers were treading water, at best, during the last few installments. 2023’s “Call of Duty: Modern Warfare III” was particularly egregious with its greatest

Daihachi Yoshida’s “Teki Cometh” is the first Japanese film in 19 years to win the top prize at the Tokyo International Film Festival. The win reflects a feeling of optimism that pervaded this year’s TIFF, as Japanese theaters bounce back from COVID-era lows and Japanese filmmakers like “Drive My Car”’s Ryusuke Hamaguchi and “Godzilla Minus

“Bringing Out the Dead” does not assert itself as an obviously religious film. and yet, it is borne from the ideological conflict of wrath versus compassion that separates the Old and the New Testament. Here, early 90s New York is an urban cesspool of sin, destitution, and suffering—it is ready for a biblical cleansing. The

Attending the Black Harvest Film Festival feels like a rite of passage—a celebration of Black storytelling that captures the spirit and resilience of our community. But as a Black man, it offers something even more profound: an opportunity to escape, reflect, and find solace in shared experiences. This year’s lineup was no exception, showcasing a

There was a wave of what could be called interactive animated films in the video game world in the 2010s, led by Telltale Games and their excellent adaptation of Robert Kirkman’s “The Walking Dead.” Telltale would release games in chapters, almost like a limited series comic book on a monthly release schedule. And they would

Looking over the program for the Tokyo International Film Festival, there were a few titles that I recognized. The idea of catching up with films that had eluded me up to that point was tempting: Mati Diop’s intriguing “Dahomey,” perhaps, or a rendezvous with Almodóvar and “The Room Next Door?” In the end, however, I