Depictions of trans masculinity in media remain scarce. It’s evident that there’s much to be done for visibility and, more imperatively, to protect the rights and freedoms of trans people at large. Co-directors Aisling Chin-Yee and Chase Joynt exalt the professional and personal life of Jazz musician Billy Tipton in “No Ordinary Man,” and avoid…

“Summertime” has a barely-there clothesline of a plot. Pinned to it is a series of spoken word interludes and musical sequences performed by its large cast of poets. On paper, it sounds iffy; in execution, however, it’s absolutely glorious, a gleeful glide through adolescence that doesn’t gloss over pangs of grief or grimmer thoughts. It’s…

If subject was all that mattered, Showtime’s “The End” would be worth watching merely for how it interrogates ideas about the end of life that fiction is often afraid to confront. However, as Roger once famously said, “It’s not what something is about, it’s how it is about it.” And the how here is infuriating,…

Leigh Janiak ends her “Fear Street” movies with a triumphant finale, and a sizable spoiler warning. Given the plotting of this trilogy, to talk about “Fear Street Part Three: 1666” in much detail feels like giving up a third act of a story. The biggest revelations are in the first hour, so I’ll tread lightly.…

As Chaz Ebert, Ben Kenigsberg, and Jason Gorber handle the vast majority of our coverage of the Cannes Film Festival from the actual Riviera, I’ve been filling in a few gaps from the beautiful city of Chicago. I’m still haunted by the excellent “Rehana Maryam Noor,” but the best of the five films I saw…

RogerEbert.com publisher Chaz Ebert’s sixth video dispatch from the 2021 Cannes Film Festival, directed and edited by Scott Dummler of Mint Media Works, features a chat with Lisa Nesselson about this year’s selections. This section of their conversation covers Paul Verhoeven’s “Benedetta,” Oliver Stone’s “JFK Revisited: Through the Looking Glass,” Nanni Moretti’s “Three Floors,” Ryusuke Hamguchi’s “Drive…