All of the Ebertfest guests stay in the same campus hotel as assorted visiting parents. Someday, I'll tell the story about how I ended up there across the hall from Tilda Swinton.

It's written by the same guy.

Prediction: You will hate about the first entry, and then come to admire it.

Is the thing where I don't like The Revenant kind of like how y'all think Dowd is some kind of sourpuss who gives everything Cs? (Fun fact: I didn't write a single A review last year.)

I've never been too big on it, though. As far as underrated Scorsese is concerned, I plan on eventually doing his segment from New York Stories.

It's a reference to Rancho Notorious, though Red Garters is also on the schedule.

As @disqus_Q2NuUt5b2V:disqus says, the first two are great, though the better introduction / sampler may Curtains.

Actually, they did. Son Of Saul and Claude Lanzmann: Spectres of the Shoah.

It's a beaut. (We'll be highlighting it in a cool Bowie inventory next week.)

Hey, my opinion on The Next Day hasn't changed. Thought it was hit-or-miss then. That having been said, I'm one of those who thinks that Outside is really good and that Reality was very underrated. And I like the soundscape of Black Tie White Noise.

Fixed.

Second paragraph of the actual review.

In the sense of only one significant female role. (This was the original word in my draft, but it produced a ragged line.) There are actually lots of female extras in The Revenant, mostly in the fort, just as Daisy isn't the only female character in The Hateful Eight.

Supposed to be band. Fixed.

It's not video.

Most of it is. A very small corner of historical Flanders ended up as part of modern-day France. That's what's called "French Flanders."

Hey, I'm two people's dad, and today I have a piece up about the Rolling Stones. We all have destinies to fulfill.

John is off losing sleep with a newborn. He has finally grown into his interests in football and '70s game shows by becoming someone's dad.

Contra @soulhonky:disqus, I think Kill Bill represents the end (and low-point) of Tarantino's first big phase; it's where he bottoms-out on pure quotation. This is the most dramatically "mature" (a word used here very loosely) of the later Tarantinos.

Creed just narrowly missed this list; came in 21st, I believe.