Roger Ebert rogerebert.com

March 2025 Blu-Ray Guide: “Babygirl,” “Sing Sing,” “Den of Thieves 2,” “Moana 2”

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Creating a Meta-Rom-Com: Karen Morey and Terence Chen on “Meet Cute in Manhattan”

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Tom Hardy Carries Promising Double-Episode Premiere of Paramount+’s “MobLand”

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The Circulation of Desire: Alain Guiraudie on “Misericordia”

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“Side Quest” Expands Virtual Universe of One of Apple’s Best Programs

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Seth Rogen’s Clever “The Studio” Skewers Hollywood with Love

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The Ebert Fellows on True/False 2025

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How Ken Burns’ “Shadow Ball” Connects Baseball’s Past to Our Uncertain Future

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How the One-Take Approach of “Adolescence” Traps Us in Tragedy

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Netflix’s “The Residence” Spins White House Chaos into Cozy Mystery

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Paramount+ True Crime Series “Happy Face” Entertains Even as It Loses Direction

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#480 March 21, 2025

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Ambient Comedy: Carson Lund on “Eephus”

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SXSW Film Festival 2025: Fu*cktoys, $Positions, Idiotka

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Finding a Way Home: André Holland Never Rests

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Age Has No Expiration When It Comes to Talent

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SXSW Film Festival 2025: 42nd Street, The Spies Among Us, Make It Look Real

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Can’t Stop the Vilanch: Legendary Comedy Writer Spills on the Creation of His Career’s Guiltiest Pleasures

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SXSW Film Festival 2025: Redux Redux, Descendent, The Surrender

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SXSW Film Festival 2025: Are We Good?, I’m Carl Lewis!, Strange Journey: The Story of Rocky Horror

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