RogerEbert.com

“Weard’s unadorned, yet intimate photography and naturalistic directing make you feel like you’re watching a Gen-Z Cassavetes at work.”

“The festival played host to a bevy of creature features, genre thrillers, and folk-horror freakouts." From @chilfilmfest, @clintworthing.bsky.social reviews CORPUS, NO REST FOR THE WICKED, CASTRATION MOVIE III.II; A FRAGMENTARY PASSAGE:

Better late than never, for @ebertvoices.bsky.social I trawled CIFF 2026's After Dark program to find some queer highlights: body-swap thriller CORPUS, Nordic Gothic vamps in NO REST FOR THE WICKED, and TERF chaos in CASTRATION MOVIE iii.ii--A FRAGMENTARY PASSAGE: www.rogerebert.com/festivals/ci...

"This season delivers the show's most expensive storylines yet, as the writers’ room continues to push the audience to think about how modern issues like bodily autonomy and substance abuse affected people across societies in the late 1800s." Kaiya Shunyata reviews THE GILDED AGE S4:

For those in Chicago, don’t miss the premiere of director Brigitte Berman’s film CHRISTIAN HOLDER: MY LIFE IS A DANCE at the Chicago History Museum. Tickets are free and can be reserved here:

"To watch Paweł Pawlikowski’s eloquent drama FATHERLAND is to commune with an artist in full command of his medium" re @812filmreviews.com @ebertvoices.bsky.social. Awarded Best Director at Cannes, Pawlikowski's FATHERLAND opens this Fri, Oct 30 > 🎟️ bit.ly/FATHERLAND

"Top-notch production values, a remarkable ensemble, and sharp thriller plotting allow [this show] to escape the shadow of its obvious influences." @briantallerico.bsky.social reviews NOCTURNE:

ICYMI: @812filmreviews.com recaps his time at the Busan International Film Festival, writing in praise “It's an almost overwhelming experience that fills more hours than the day can hold.”

“For those with the patience to sit through it, the film is a valuable work from one of the more interesting directors on the current international scene." From CIFF, @petersob13.bsky.social reviews LET US THROUGH, DEAR ANCESTORS & A BIT OF LIGHT AND LOVE IS THE MONSTER:

"Passion shines through the imperfections, and these new directors and first-time filmmakers thread their stories together with the personal experience embedded in each work." From the Chicago International Film Festival, Cortlyn Kelly reviewed SAINTS, A COMMON STORY, and THE RIVERBANK:

“When [it] strikes an atonal note, Pascal’s performance, and Gilroy’s trusting direction of his leading man, drown it out." From the Chicago International Film Festival, @briantallerico.bsky.social reviews BEHEMOTH!

Come read me opine a bit on the unexpected PTSD rep of Peter Weir's deeply slept on FEARLESS:

Several years ago, I got to help conduct a Q&A with Tom Skerritt following a screening of a little art film he did called Alien at the Chicago Critics Film Festival. It was pretty cool. I also did a separate interview with him @ebertvoices.bsky.social This was also cool.

Also for @ebertvoices.bsky.social, I wrote about the dreadful romantic comedy LOVE LANGUAGE

For @ebertvoices.bsky.social, had a great conversation with WILDWOOD director Travis Knight about the film’s long journey, preserving stop-motion as an artistic endeavor in an increasingly automated world, Portland being the center of stop-motion, and much more 📽️ www.rogerebert.com/interviews/a...

For @ebertvoices.bsky.social, asked WILDWOOD director Travis "AI Can Go Fuck Itself" Knight about a cheeky sign tucked away in the film that reads, “Enjoy handmade art before it’s gone forever.” No mere easter egg, it's something he values in our "increasingly frictionless" world 📽 bit.ly/4kdJCeT

RogerEbert.com loved MOUSE and you will too. It opens Nov 6 but on Tuesday, you can see a sneak preview with filmmakers & cast Q&A! ifccenter.com/films/mouse/

Reposting my @ebertvoices.bsky.social review of Stephen Chow's KUNG FU SOCCER in case you'd forgotten that there's nooooo fuuuutuuuure for youuuu: www.rogerebert.com/reviews/kung...

It was the 80th anniversary of Alfred Hitchcock's NOTORIOUS and I got to write about Roger Ebert's favorite movie at @ebertvoices.bsky.social! I looked at how the movie looks at men as various levels of trash, and how often women get thrown under the bus. www.rogerebert.com/features/not...

"This dispatch may feature only two films, but it’s bursting with complexity." From the Chicago International Film Festival, @812filmreviews.com reviews LIZ HERE NOW & THREE COLORS: PAN-AFRICAN:

"Kat Sandler has transformed her own work for the better, breaking down her play and molding it into a story that not only translates well on screen, but gets even better in this entirely different medium." @Kaiya Shunyata reviews YAGA:

“We all bring our own perspectives, challenges, joys, pain, and sorrow to these experiences. If we can put them authentically into the stories, hopefully they’ll reach another person and make them feel slightly less alone." @eclectichutch.bsky.social spoke with Travis Knight about WILDWOOD:

“It makes you appreciate its existence, however imperfect." @Peyton Robinson reviews JUNK:

"Colman and Skarsgård keep the film honest even when Fischer and Wilson wiggle out of their own conceit, conjuring deeply felt emotion out of the promise of love." @812filmreviews.com reviews WICKER:

“[It] can’t seem to bother with character development beyond the broadest of strokes." @oldfilmsflicker.bsky.social reviews LOVE LANGUAGE:

"The soccer scenes are especially disappointing, though, since the filmmakers’ use of AI only creates a disturbing Uncanny Valley effect." @simonsaybrams.bsky.social reviews KUNG FU SOCCER:

"This exceptionally thoughtful and often hilarious documentary about Bamford explores the way she uses humor to filter her experiences and performance to temper her anxiety, depression, and intrusive thoughts." @nellminow.bsky.social reviews PARALYZED BY FEAR: THE MARIA BAMFORD STORY:

“[It] is a gorgeous ode to outsiders, nature, and everything we seem to be losing as we march toward a tech-heavy future." @briantallerico.bsky.social reviews WILDWOOD:

“What made Skerritt special was how easily his intertwined interests in learning, storytelling, and observing showed up in his work." @briantallerico.bsky.social offers tribute to the late Tom Skerritt:

“Taika Waititi’s simplification of the story into a saturated dreamland feels like a Dr. Seuss adaptation." @Cortlyn Kelly reviews KLARA AND THE SUN:

"Despite tear-filled eyes, the beauty of [this film] blooms from the way love evolves after loss." Cortlyn Kelly in her 4/4 star review, writes about MOUSE from the Chicago International Film Festival:

From INSIDE OUT, MELANCHOLIA, & BLUE HERON, the editors compiled a list of films that highlight mental health in an interesting way:

"We see a love that does what love does best: ask more of us. And that’s something to celebrate." Cristina Escobar reviews NOBODY WANTS THIS Season 3:

For this year’s Chicago International Film Festival, @petersob13.bsky.social reviews the documentaries worth checking out, including: A CITY IN THE FOREST, GOING FOR HOME, & WHILE WE ARE HERE:

I reviewed KUNG FU SOCCER, the new Stephen Chow movie, @ebertvoices.bsky.social. It's a sequel to SHAOLIN SOCCER and Chow estimates that half of the movie's budget was for AI animation. Ahead of tomorrow's review, I'm posting some of my earlier coverage of Chow's post-KUNG FU HUSTLE credits.

So I wrote this @ebertvoices.bsky.social Like I wasn’t going to write something Marie Antoinette-adjacent on its 20th anniversary. . .

"It quietly, and at times movingly, offers observations ranging from the artistic process to the struggles female filmmakers still face even after theoretically proving themselves." @petersob13.bsky.social reviews MAKING MARIE ANTOINETTE:

“[It] can’t quite figure out what movie it wants to be, which could be an ambitious homage to a writer that often blurred genre lines, or it could just be sloppy writing." @briantallerico.bsky.social reviews A TALENT FOR MURDER, in theaters now:

“[John] Turturro shines, offering a performance that not only gives justice to this honorable character—but also proves that he’s among the last of a certain type of professional actor ..." @812filmreviews.com reviews THE ONLY LIVING PICKPOCKET IN NEW YORK:

"Elegantly told and rich in meaning, [this] is a beautifully derived piece of heartbreaking art." @812filmreviews.com reviews FATHERLAND, in select theaters now:

“[It] isn’t the first film to transform a family drama into a monster movie, but it feels fresh due to the commitment of its creators." @briantallerico.bsky.social reviews THE CYCLE, in theaters now:

“[It] is as dense as our best literature, filled with rich character beats that feel of a piece with what came before and where these characters are going next." @Brian_Tallerico in his 4/4 star review of POSSIBLE LOVE, in select theaters now:

"A movie shouldn’t spoon feed you its themes, but it also needs to put more than misshapen mush on your plate." @briantallerico.bsky.social reviews CLAYFACE:

“War is Hell, but the women who endured it came out with all manner of additional horrors exclusive to them." Kristen Lopez writes about the 80th anniversary of NOTORIOUS:

From the Chicago International Film Festival, Cortlyn Kelly reviews films from the Black Perspectives Program, including FINDING YOUR LAUGHTER, CHOCOLATE BABIES, & ANA, EN PASSANT.

"A trio of award winners playing in Busan’s main competition comprises this latest dispatch." @812filmreviews.com reviews MIDDAY MEAL, IBUKU, & BEACH FICTIONS:

"It reminded me of those film noirs, those classic characters who are very human, but they’re doomed sometimes to do certain things." Carla Renata spoke with John Turturro about THE ONLY LIVING PICKPOCKET IN NEW YORK:

“This is a movie that doesn’t talk down to kids. If anything, it understands how it’s OK for them to struggle a bit to keep up." @briantallerico.bsky.social reviews RAY GUNN:

“These movies are female led, and they’re built on a precise visual language that’s perfectly matched with their serious-minded subject matter." In his final dispatch from Busan, @812filmreviews.com reviews ZOGSOOL, FULL MOON, & BEYOND LOVE’S HORIZON: