FIlm

• Leonardo DiCaprio, Meet St. Augustine
• Stanley Kubrick: American Filmmaker
• William Hurt, 1950-2022
• Ray Liotta, 1954-2022
• "The Wolf of Wall Street"
• The Elegiac Beauty of Martin Scorsese’s "The Irishman” 
• "Uncut Gems": Adam Sandler's seedy sports fan epic
• "1917"
• "The Turn of the Screw: 'Translated and Improved'?"
• "Gretel and Hansel": A new take on an old tale
• "The Call of the Wild" 
• "Emma"
• "The Invisible Life of Eurídice Gusmão"
• "Bad Boys For Life"
• "The Whistlers"
• "Shirley"
• "The King of Staten Island"
• "Greyhound"
• "Eurovision Song Contest: The Story of Fire Saga"
• "Bill and Ted Face the Music"
• "American Pickle"
• "Console Wars"
• "Minari"
• "The Mitchells vs. the Machines"
• "Stillwater"
• "The Last Duel"
• "The French Dispatch"
• "Spencer"
• "Don't Look Up"
• "The Tender Bar"
• "Nightmare Alley"
• "Death on the Nile"
• "The Tinder Swindler"
• "After Yang"
• "The Contractor"
• "Memory"
• "Jurassic World: Dominion"
• "Blue Jasmine"
• "Gravity," "Magic in the Moonlight," and "Inside Llewyn Davis"
• "Life Itself": Roger Ebert's life, work, and unquenchable cinephilia
• "Museum Hours" 
• "To The Wonder"
• "The Vigil"
• "Ex Machina," Artificial Intelligence, and the Ethical Dangers—or Benefits?—of New Technology
• Roger Ebert: The Rashi of Cinema
• Hollywood, the Oscars, and the missing modern Jew​
• Driving to Nebraska: Cinema, Human Dignity, and the Elderly​
• The Greatest Beauty: The Imaginary Journey of Paolo Sorrentino’s "The Great Beauty" ("La grande bellezza")
• "Exodus: Gods & Kings": What Does God’s Voice Really Sound Like?
• "Boyhood": A Profoundly Human Story
• A Movie in the Mould of Murnau, "Metropolis," and "The Rules of the Game": Wes Anderson’s "Grand Budapest Hotel"
• "The Big Short"
• ​"La La Land": Movie of Dreams
• "Rogue City"
• Fear Not: ‘Our Man’ Robert Redford in J.C. Chandor’s "All Is Lost" 
• "Blockers," "American Pie," and the Last Great Sexual Taboo