Roger Ebert Reviews

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

If you were to look at a photograph of Roger Corman without knowing who it was, you might suspect that he was a straight-laced Midwestern businessman—the kind of guy who thrived back in the days of three-martini lunches and Elks Club memberships. You almost certainly would never have pegged him as the kind of guy

In case you’re wondering, “Nothing Can’t Be Undone By a HotPot” is not only the best movie title of the year so far, but also a no-frills Chinese whodunit about a pile of stolen cash, a human body, and a long line of dirty laundry. The cash and the body present themselves early on in

Every year, the Cannes Film Festival is an embarrassment of riches, offering moviegoers a smorgasbord of exciting, challenging cinema. In recent times, the likes of “Parasite,” “Portrait of a Lady on Fire,” “The Worst Person in the World,” “Triangle of Sadness,” “Drive My Car,” “The Zone of Interest” and “Anatomy of a Fall” debuted on