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...
Really an excellent essay. "Dorothy Vallens was the first of Lynch’s many 'women in trouble', but she remains strange even refracted in that canon."
ANDRÉ IS AN IDIOT opens March 13th at the Music Box.
Director Tony Benna in attendance for a post-film Q&A on Sunday March 15th at 2pm!
Advance Tickets On Sale Now: musicboxtheatre.com/films-and-ev...
For my debut at @ebertvoices.bsky.social, I went long on #HeatedRivalry and its incredibly viral fleece jacket (it's a Good Fleece!) www.rogerebert.com/features/an-...
"I’m not terribly interested in trying to create a perfect illusion of realism. I don’t find that super interesting as an actor or a filmmaker. It’s why I like Nicolas Cage."
For this month's column at @ebertvoices.bsky.social I spoke with filmmaker Grace Glowicki about her horror comedy DEAD LOVER
great to have taken part again in @ebertvoices.bsky.social Women Writers Week, writing about one of my favourite recent films, The Testament of Ann Lee
www.rogerebert.com/women-writer...
Excited to be making my debut at @ebertvoices.bsky.social, but I deeply wish it was because I was writing about a better show. Apple TV's "The Hunt" squanders an extremely interesting premise on paper-thin characters and a sadly predictable plot. My review:
For my contribution to #WomenWritersWeek at @ebertvoices.bsky.social I wrote a look back at the film industry 100 years ago – the arrival of synced sound, the death of Valentino, Gilbert and Garbo, and more – and what we might be able to glean from its storied history.
happy #WomenWritersWeek at @ebertvoices.bsky.social !!! my contribution is this piece on Larry Fessenden's "Habit"
www.rogerebert.com/women-writer...
Because I relish the prospect of being dragged to hell on the internet, I wrote about Emerald Fennell, #WutheringHeights, and why we need a lot more filmmakers just like her --- whether you hated the movie or not --- for @ebertvoices.bsky.social:
Hello, I reviewed ROOSTER for @ebertvoices.bsky.social as part of women writers week, an opportunity that enabled me to ask the question: Did Steve Carell really have to fall on that young woman's boobs?
www.rogerebert.com/women-writer...
"As good as these actors are, they can’t quite overcome the fact that ROOSTER is tonally too shifty to effectively work,” writes @chaneyj:
“In the end, is truly what Fennell’s films do best: make us argue with one another,” writes Lacy Baugher about the need for more filmmakers like the WUTHERING HEIGHTS director.
Like any great film essay, this makes me want to watch it again with this new insight.
