Roger Ebert rogerebert.com

Join Us for the Inaugural FECK Awards Gala This Saturday, April 4th

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Full Schedule for Ebertfest 2026 Released and Individual Tickets Now On Sale

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Hulu’s “The Testaments” Returns to Gilead For Another Timely Tale About Privilege and Complicity

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“It Became a Dark Place”: Chief Geoffrey Standing Bear on “Killers of the Flower Moon”

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Female Filmmakers in Focus: Sophy Romvair on “Blue Heron”

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The Unloved, Part 148: High-Rise

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“Help Me To Find Kokomo”: A Guide To Beyond Chicago

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Home Entertainment Guide March 2026: Anaconda, The Housemaid, Killers of the Flower Moon, More

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Apple TV’s “For All Mankind” Takes Bold New Leaps in Space and Scope in Its Fifth Season

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Shuffling and Whittling and Experimenting: Austin Keeling and Lam T. Nguyen on Editing the Told-on-Screens Film “Mercy”

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Netflix’s “Jo Nesbø’s Detective Hole” Feels A Bit Overstuffed

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Ebertfest Announces Expanded Lineup, Special Guests, and Final Festival Programming for “The Last Dance” Edition

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SXSW 2025: Crash Land, The Fox, Love Language

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“Daredevil: Born Again” Stays Blind to the Cultural Moment in Season 2

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SXSW 2025: baby/girls, Manhood, Drift

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Inaugural FECK Awards to Honor Extraordinary Changemakers in Chicago on April 4th at the Ritz Carlton

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SXSW 2025: Beast Race (Corrida Dos Bichos), Campeón Gabacho, Grind

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SXSW 2026: Brian, Basic, Seekers of Infinite Love

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SXSW 2026: Never After Dark, Dreamquil, Drag

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“The Faithful: Women of the Bible” Doesn’t Match the Grandeur of its Premise

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