Roger Ebert rogerebert.com

Tokyo Film Festival 2025: Mamoru Oshii on “Angel’s Egg”

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Amazon Prime’s “Malice” Will Only Make You Mad

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We Live in Time: Joachim Trier on “Sentimental Value”

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“Landman” Might Be the Dumbest Fracking Show on TV

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It’s Important for a Film to Wake an Audience Up: Ira Sachs on “Peter Hujar’s Day”

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Netflix’s “Last Samurai Standing” is One of the Best Action Shows of the Year

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No Other Land: Surviving a Crushing Machine

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“My Undesirable Friends: Part I – Last Air in Moscow” Announced as Winner of the 2025 Indie Film Site Network Advocate Award

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Tokyo Film Festival 2025: “Sato and Sato,” “Blue Boy Trial,” “Poca Pon,” “Blonde”

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Season Two of “Palm Royale” Succeeds by Embracing its Funny Side

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A Duo Unlike Any Other: On the Fiftieth Anniversary of “Siskel & Ebert”

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ROG Xbox Ally X Takes High-Powered Gaming on the Go

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Tokyo Film Festival 2025: “Mother Bhumi,” “Morte Cucina,” “We Are the Fruits of the First,” “Tunnels: Sun in the Dark”

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Hard Places: Max Walker-Silverman on “Rebuilding”

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Tokyo Film Festival 2025: Journey into Sato Tadao

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Siskel & Ebert at the Movies Celebrates its 50th Anniversary

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HBO’s “The Seduction” Surprises without Sizzle

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Can Movies Save the World?

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Vince Gilligan’s Riveting “Pluribus” Is the Television Event of the Year

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You’re Living Intrusive Thoughts: Jennifer Lawrence and Lynne Ramsey on “Die My Love”

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