“SCARPETTA is a frustrating example of what not to do when you’re attempting to create a new franchise adapted from beloved mystery novels,” writes Kaiya Shunyata.
10.03.2026 16:04
👍 3
🔁 0
💬 0
📌 0
“SCARPETTA is a frustrating example of what not to do when you’re attempting to create a new franchise adapted from beloved mystery novels,” writes Kaiya Shunyata.
“ENDLESS SEA is an ingenious short that works as a character study, a workplace film, an indictment on our health system, a cautionary tale, and thriller,” writes @collinsouter.bsky.social in his interview with director Sam Shainberg.
“If SINNERS becomes the third movie by a Black filmmaker to win Best Picture but not Best Director, then we can’t pretend the director’s Blackness isn’t the main reason why,” writes @thirdmanmovies.bsky.social about why Ryan Coogler deserves the Oscar.
"For now, though, ONE PIECE remains an imperfect, if entertaining, treat; for those lacking the will or the time to dive into thirty-plus years of manga or anime … it does well in a pinch,” writes @clintworthing.bsky.social about the show’s second season.
I'll admit to a big soft spot for Netflix's live-action One Piece, and Season 2 amps up the scale with bigger budgets, bigger stakes, and an adventure of the week structure that let's our crew, well, feel like a crew.
My review for @ebertvoices.bsky.social: www.rogerebert.com/streaming/on...
"It’s an enjoyable, yet overly familiar, excursion. By disavowing narrative and aesthetic boundaries, PROJECT HAIL MARY struggles to become boundless,” writes @812filmreviews.com.
The Oscars are Sunday. For @ebertvoices.bsky.social, I paid tribute to 10 great movies from 2025 whose names we won't hear once during the show. Which is a shame.
For his latest UNLOVED installment, @honors_zombie writes about one of his favorite actresses’ Anna Faris, about her roles in OBSERVE & REPORT and THE HOUSE BUNNY. "Hollywood needs her ragged edge more than ever these days,” he writes.
"He was a great teacher who spoke not just to the craft elements of acting, but the complexities of existence. A few compared his classes to a kind of therapy. Same with his movies,” writes @mattzollerseitz.bsky.social about the late Tom Noonan.
"What elevates MARTIN SCORSESE: ALL THE FILMS is that it’s more than just a Wikipedia-in-book-form project. It’s filled with insight, passion, and creativity. Just like its subject,” writes @briantallerico.bsky.social about the must-own book.
In honor of #InternationalWomensDay2026 our list of brilliant contributions, from anti-heroines to cozy mysteries to an instantly iconic item of clothing in #heatedrivalry in our annual Women Writers Week www.rogerebert.com/women-writer...
Counterpoint to my last review, this was no fun at all
THREAD: I got laid off from NYMag/Vulture after 14 years. The family lost 75% of income + medical. Now mzs.press bookstore, once a side project. is do-or-die for Judith & I. I feel weird telling you this because others are doing much worse. But if you could like or share this, we'd be so grateful!
This article by @alishamgl.bsky.social is a breathtakingly insightful examination of Habit, a movie that is not only the best vampire film (of 5) of 1995, but also is an oft-overlooked indie masterpiece. Mughal sheds new light on its cinematic power, and that of writer/director Larry Fessenden. 💙
Goofy movie, but dare I say I had some fun?
I forgot to mention that it's Women Writers Week at my old stomping grounds of @ebertvoices.bsky.social! Read all the great writing from a variety of contributors!
www.rogerebert.com/women-writer...
In her first piece for @ebertvoices.bsky.social, @daniellamazzio.bsky.social writes about Kleber Mendonça Filho's The Secret Agent, the humanities as resistance, and remembering as an act of love.
www.rogerebert.com/women-writer...
For my @ebertvoices.bsky.social debut, I wrote about THE SECRET AGENT, the humanities, and memory as both acts of resistance and love. This movie is very dear to me, and I'm glad to be an enthusiastic champion of it as part of Women's Writers Week!
➡️ www.rogerebert.com/women-writer...
"If storytelling is a mirror and a victory for the tellers, women cannot see ourselves in someone else’s reflection or hear ourselves in someone else’s theme song—not without becoming monstrous enough to claw our way to our truest selves,” writes Sherin Nicole.
Dwight Cleveland, author of CINEMA ON PAPER: THE GRAPHIC GENIUS OF MOVIE POSTERS, spoke with @nellminow.bsky.social about his collection of lobby cards and the women who made the movies of the silent era.
“Here are some other cinematic firsts and lasts, with a focus on female filmmakers, for 1956,” writes Laura Emerick.
"In the world of the movie and throughout all of Mendonça Filho’s filmography, remembrance is an act of resistance as much as it is an act of love,” writes @daniellamazzio.bsky.social about THE SECRET AGENT.
“There’s something inescapably artificial about the social commentary here. Like many genre films this decade, HEEL feels glaringly incomplete,” writes @judysquirrels.bsky.social.
"Dragged down by over-explanatory dialogue and tired narrative tropes, PROTECTOR brings nothing new to the table,” writes @mcastimovies.bsky.social.
“DOLLY is quite repellant, which in this case can be read as a compliment … Scratch the surface, however, and it’s less flattering, one predictable element among many in this utterly predictable film,” writes @rifewithkatie.bsky.social.
"It’s not a movie built to withstand big questions, but for a high-octane action thriller, it’s a lot more fun when it goes off the rails,” writes @mcastimovies.bsky.social about WAR MACHINE.
“DIDN’T DIE is a zombie movie with no zest. No thrill, no stakes, and no meaning,” writes Cortlyn Kelly.
"Time destroys, preserves, and then returns (one hopes, at least). Rosi’s film is a meditative and moving document showing that process and possibility,” writes @sheilakathleen.bsky.social about POMPEI: BELOW THE CLOUDS.
I first saw ANDRÉ IS AN IDIOT at Sundance 2025 and liked it. Two months later, my own father was diagnosed with stage IV colon cancer. Upon rewatch this doc revealed itself to be something much richer than its humorous approach would suggest.
My four star review for @ebertvoices.bsky.social:
When Nell & Chaz @ebertvoices.bsky.social invited me to write something again this year for Women Writers Week, I chose one of Roger Ebert’s favorite character actresses & mine, a woman who’s synonymous with Chicago, the great Joan Cusack! Read it here:
www.rogerebert.com/women-writer...