“Do Not Expect…” culminates in a masterfully executed sequence that distills the film’s themes into a single, unbroken shot—ostensibly the raw footage from the PSA—where a poor family is manipulated into undermining their own interests in bleakly funny fashion. The road there is full of small indignities and absurd ironies, peppered with pop-culture references (including

Circular and repetitive at times, Shatner nonetheless expresses himself with all the self-effacing honesty of a troubadour. Sure, his ramblings wander aimlessly in moments, particularly when musing on spirituality and philosophy. He’ll lope from reflections on his childhood, a youth marred with deceased pets and an emotionally unavailable mother, to quoting Chekov’s “The Seagull” when

Director Greg Kwedar and his co-writer Clint Bentley adapted the script from John H. Richardson’s 2005 Esquire article “The Sing-Sing Follies” and added embellishments, many devised by the cast, drawing on their own experiences. It was shot at Sing Sing and in a variety of other locations standing in for Sing Sing, including a decommissioned

That film is David Altrogge’s “Clemente,” a loving ode to one of the most impressive and important athletes of all time. Robert Clemente was the first Latin-American to win an MVP, a World Series MVP, and be inducted into the Baseball Hall of Fame. He shattered the color barrier in a way that still resonates

“Ryuichi Sakamoto: Opus” is an hour and forty minutes of just that: Sakamoto playing. There is no introduction. There are no interviews. Sakamoto does not instruct the director, Neo Sora, on how to play the pool variant “Cutthroat” as Rick Danko did for Martin Scorsese in another farewell concert film, “The Last Waltz.” It’s just

Monster review – heartfelt and likably earnest About Little White Lies Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our

Thankfully, those came from Jonathan Glazer, writer-director of “The Zone of Interest,” which took home Best International Film. The filmmaker behind “Birth” and “Under the Skin,” and his producing partner James Wilson, who are both Jewish, have spoken out about the conflict in Gaza in interviews and previous awards shows, but never with the firm

You make an important point in your discussion of Archbishop Desmond Tutu that forgiveness is not only a spiritual obligation but in the most practical sense “political expediency.” Many people might think that because an act helps to achieve a political goal it is somehow less “pure.” What do you think? Yes, that’s a good

I also found it incredibly curious that Sukjin Han, a crew commander for one of the Mars simulations, was the only interviewee, be it study participant, scientific expert, astronaut, or family member—to concede that in order for a manned mission to Mars to actually succeed, there will need to be some self-sacrifice on the part

For over a decade, RogerEbert.com has been turning over its entire content stream to female writers, and 2024 is our most ambitious year to date. Below, find links to all of our reviews and articles, over three dozen in total: REVIEWS “Accidental Texan” by Katie Rife “American Dreamer” by Carla Renata “Bella” by Nell Minow