God knows how many millions of dollars and hours of manpower went into making and remaking Geostorm but it turns out to have been all…
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com. He is also the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. His writing on film and television has appeared in The New York Times, Salon.com, The New Republic and Sight and Sound. Seitz is the founder and original editor of the influential film blog The House Next Door, now a part of Slant Magazine, and the co-founder and original editor of Press Play, an IndieWire blog of film and TV criticism and video essays.
A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours’ worth of video essays about cinema history and style for The Museum of the Moving Image, Salon.com and Vulture, among other outlets. His five-part 2009 video essay Wes Anderson: The Substance of Style was spun off into the hardcover book The Wes Anderson Collection. This book and its follow-up, The Wes Anderson Collection: Grand Budapest Hotel were New York Times bestsellers.
Other Seitz books include Mad Men Carousel: The Complete Critical Companion, The Oliver Stone Experience, and TV (The Book). He is currently working on a novel, a children's film, and a book about the history of horror, co-authored with RogerEbert.com contributor Simon Abrams.
A great documentary about a profound and mysterious artist.
Clowns are scary.
A story of kindness.
As much as can be said about Louis Malle's jazzy French noir in 30 minutes.
The great playwright and screen actor leaves behind a legacy of introspective, fascinating work, much of it having to do with America's self-image.
RogerEbert.com's Godfrey Cheshire is writing a book about Iranian cinema.
As much as Matt can say about "Baby Driver" in 30 minutes at the keyboard.
Easily the silliest King Kong movie ever made, but also one of the most gloriously enjoyable.
Filmmaker Ira Sachs ("Forty Shades of Blue," "Little Men") talks about the impact of his first feature, “The Delta,” on his life and career, and the lessons he drew from its production.