There has never been a film critic quite like Roger Ebert from the Chicago Sun-Times. Perhaps the most famous man who’s ever exercised the profession, Ebert was someone whose opinions were founded on the sharpest, most profound knowledge of cinema history. As such, when talking about the films that Ebert considered the greatest of all time, all cinephiles should give themselves the time to check them out at least once in their lives.

Extrapolating the films that Ebert considered the greatest of all time isn’t an endeavor entirely stripped from subjectivity, since there were multiple movies that the director talked about in his Great Movies list and his many submissions to the decennial Sight and Sound Poll of the Greatest Films of All Time. But when looking at the tremendous praise he had for masterpieces both modern (like The Tree of Life) and much older (like The General), one can conclude on a list of ten films that Ebert would very likely have no complaints about calling the best ever made.

10

‘The Tree of Life’ (2011)

Image via Searchlight Pictures

Due to his artsy, slow-burning cinema, Terrence Malick can sometimes be a bit of an acquired taste, and boy was that taste acquired by Roger Ebert. The director typically loved Malick’s work, but no film more than what most would agree is the director’s magnum opus: The Tree of Life. It’s certainly a challenging film, but one so beautiful and philosophically profound that it’s no wonder Ebert loved it as much as he did.

In his write-up talking about his submission for the 2012 Sight and Sound poll (the last one he ever participated in, one year before his passing), the critic said that he had to include one 21st-century film. Though he was split between this and Charlie Kaufman‘s Synecdoche, New York, he opted for Malick’s masterpiece due to its being “more affirmative and hopeful.” In his review, he called it “a film of vast ambition and deep humility,” comparing its “boldness of vision” to Stanley Kubrick‘s 2001: A Space Odyssey. Ebert loved the film for its scale, its intimacy, and the fact that it’s one of the most visually stunning movies of the last 25 years.

9

‘Raging Bull’ (1980)

Image via United Artists

Ebert frequently cited Martin Scorsese as his favorite filmmaker of all time, and as such, no conversation about which movies the critic considered the best ever made could possibly be complete without at least a mention of Scorsese. As it happened, it was Raging Bull, Scorsese’s visceral biopic about American boxer Jake LaMotta, that Ebert favored over all other Scorsese gems.

It’s no wonder, since Raging Bull is one of the definitive masterpieces of the 1980s. Ebert once called it Scorsese’s Othello, “the greatest cinematic expression of the torture of jealousy.” In his review of the film, the critic praised Robert De Niro‘s career-defining performance, Paul Schrader‘s stunning script, and Scorsese’s deeply personal direction. Scorsese has gone into detail several times about how the film saved his life, and that undoubtedly contributed to Ebert’s profound admiration for it.

8

‘The General’ (1926)

Image via United Artists

In his 2012 write-up for the Sight and Sound poll, Ebert mentioned that he felt like he needed to include a silent film, and there’s very little doubt one can notice in his tone when he points to Buster Keaton‘s The General. Indeed, it is generally regarded as one of the best silent movies of all time, the masterful work of one of the greatest minds that has ever graced cinematic comedy.

In his review of the movie, Ebert first addressed the elephant in the room and said that Keaton’s “best movies have aged better than those of his rival, Charlie Chaplin.” Following that bold statement, he praised the movie’s “graceful perfection,” exploring what makes Keaton so timeless and The General so iconic. It’s a hilarious film with its star at his very best, and a must-see for all those who love movies that make them laugh.

7

‘Apocalypse Now’ (1979)

Image via United Artists

His oeuvre has its fair share of stumbles, but it would be silly to deny that Francis Ford Coppola is one of the greatest, most important, and most groundbreaking directors in Hollywood history. He made not just one, but arguably several of the most ambitious movies of the 20th century. Still, very few films in general—let alone Coppola films—have ever been more ambitious than the Vietnam War epic Apocalypse Now.

It’s a hellishly gut-wrenching film, and Ebert held it in absurdly high esteem. In his review, he called it “one of the key films of the century,” expressing admiration for the abundance of unforgettable sequences, the killer soundtrack, the stunning visuals, and the award-worthy performances. Some war films are criticized for glamorizing or romanticizing war, but Apocalypse Now is one of those masterworks that take the “war is Hell” themes to unprecedented heights.

6

‘Vertigo’ (1958)

Image via Paramount Pictures

Alfred Hitchcock, the Master of Suspense, was another director for whom Ebert always held a deep admiration. No conversation with the critic about the best films of all time would have ever been complete without talking about Hitchcock. As such, it’s no wonder that Ebert’s known Sight and Sound submissions always included a Hitchcock outing.

For a while, it was Notorious that was on Ebert’s list, but for his 2002 submission, the critic switched to Vertigo, saying it was “the better of two nearly perfect films.” It is, indeed, one of the most perfect classics with complex storytelling and a true gem of cinema. In his review, Ebert called Vertigo Hitchcock’s “most confessional” movie, “dealing directly with the themes that controlled his art.” He expressed admiration over the film’s performances and visuals, but also the way it—either consciously or subconsciously—functions as a deep-dive into Hitchcock’s view and control of women.

5

‘2001: A Space Odyssey’ (1968)

Image via MGM

Many would call Stanley Kubrick the greatest filmmaker who ever lived. Ebert might not have gone for that particular superlative, but in the obituary he wrote for Kubrick, he did call him “one of the greatest of film directors, and perhaps the most independent and self-contained,” so it’s really not that far off. Of Kubrick’s many vastly acclaimed masterpieces, most critics—Ebert included—would point to 2001: A Space Odyssey as the director’s magnum opus.

It’s far and away one of the most ambitious sci-fi masterpieces of all time, a millennia-spanning epic that deals with human nature in a way that no other sci-fi film has before or has since. Ebert said it was “a great visionary leap, unsurpassed in its vision of man and the universe,” and in his review, he called it “the work of an artist so sublimely confident that he doesn’t include a single shot simply to keep our attention.” Ebert was a big fan of the music, the infinitely analyzable ending, and Kubrick’s unrestrained vision.

4

‘Floating Weeds’ (1959)

Like any great film critic, Ebert was well-versed in overseas cinema almost just as much as he was in American cinema, and there were few international film industries that he was fonder of than Japan’s. The great master Yasujirō Ozu was an auteur that Ebert particularly admired, and Floating Weeds was the critic’s favorite Ozu gem.

A remake of Ozu’s own 1934 black-and-white silent film A Story of Floating Weeds, Floating Weeds is a true masterpiece, with Ebert considering it a film of “hypnotic visual beauty” in his list of the greatest motion pictures ever made. In his review, the critic praised Ozu as “the quietest and gentlest of directors,” and he said that Floating Weeds was beautifully familiar, atmospheric, and naturalistic.

3

‘La Dolce Vita’ (1960)

Image via Cineriz

There have been many excellent Italian filmmakers throughout history, but none have ever quite lived up to how legendary Federico Fellini was, and how exceptional the legacy he left behind has remained over the years. La Dolce Vita is generally regarded as his best movie, one of the most perfectly-written epics ever made, and Ebert certainly wouldn’t have disagreed.

In his 2012 Sight and Sound write-up, the critic said that La Dolce Vita had become a touchstone in his life, which makes it unsurprising that he thought it was one of the greatest motion pictures in history. In his review, Ebert expressed admiration for the way the movie “leaps from one visual extravaganza to another,” as well as for the excellent performances and Fellini’s energetic direction.

2

‘Casablanca’ (1942)

Image via Warner Bros. Pictures

Perhaps the most romantic Hollywood picture ever made, Casablanca was a smash hit upon release whose success surprised even those involved in its production. Today, it’s such a mainstream classic that its perfection hardly surprises anyone. Ebert certainly considered it one of the most perfect World War II movies ever, and for good reason.

When he wrote about the ten greatest films ever made, Ebert said that even though the romance, the humor, and the intrigue at the heart of Casablanca were masterful, it was its enthralling characters that really made it so special and timeless. In his review, the critic said that even “seeing the film over and over again, year after year, [he found] it never grows over-familiar,” and that’s probably why this has never ceased to be the huge classic it’s always been.

1

‘Citizen Kane’ (1941)

Image via RKO Radio Pictures

When he wrote about the ten greatest films ever, and he inevitably got to the topic of Orson Welles‘ Citizen Kane, Ebert reminisced about a recent university screening he had attended, where the film was analyzed shot-by-shot. He said, “We took 10 hours and really looked at this film, which is routinely named the best film of all time, almost by default, in list after list. Maybe it is. It’s some movie.” That maybe it is, from a critic of Ebert’s caliber, may just be the biggest snippet of praise any film could ever aspire to.

It’s well-deserved praise, too. Citizen Kane is undoubtedly, at the very least, one of the best movies of the 20th century. It’s almost unbelievable that it was Welles’ cinematic debut both as a director and as an actor (not counting two previous credits as a narrator), and Ebert made sure to take note of that in his review of the movie. He praised the film’s structure, writing, and “bravura visual moments,” making it clear why he probably thought this was the greatest film ever made.

Pink & Carey Hart
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Published
February 26, 2026
12:47 PM PST

An internet user accused Nique of being with her “home girl’s man” following the clip she shared from NBA YoungBoy‘s passenger seat, and now Nique has responded.

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Internet User Accuses Nique Of “Being With Her “Home Girl’s Man” After Clip From NBA YoungBoy’s Passenger Seat

On Thursday, February 26, hours after dropping the footage of herself in NBA YoungBoy’s passenger seat and sparking remarks from two of the mothers of YoungBoy’s children, Yaya Mayweather and Star Deja’nee, Nique took to her TikTok account to share that she seemingly made it to her destination: a private jet. But that wasn’t all. Nique decided to film a “What’s In My Bag” video for TikTok. In her comment section, however, users were ready to share a few questions and comments.

“And you deadass wrong,” one viewer commented before Nique replied with curiosity.

From there, another stepped in and appeared to refer to Jania Meshell, writing, “[For] being with ya home girl man smh… but kk”

Ultimately, Nique replied:

“My homegirl wouldn’t try to throw dirt on my name online but go off [red heart emoji]”

Peep the clip of her TikTok, the comments, and her response below.

To note, for those curious about where her ex Dwayne Bacon, Nique also shed some light.

This, amid Bacon sharing his own update.

Social Media Reacts To Nique’s Response To An Internet User Accusing Her Of Being With Her “Home Girl’s Man”

Social media users were apparently taken aback by Nique’s reply to the comment about being with her “home girl’s man.” Reactions to her response were shared in TSR Teens’ comment section.

Nique Shares Post About Being The “Villain” After Clip From NBA YoungBoy’s Passenger Seat

But that wasn’t the only comment Nique shared on Thursday. Additionally, she took to Threads and Instagram to share a carousel of flicks from the private jet. Amid one of the photos was a text post that read, “If they paint you as a villain. POSE.” Furthermore, another text post in the carousel read, “Sometimes people do stuff to try to hurt you and end up blessing you…”

For those unfamiliar, Nique’s name became entangled with NBA YoungBoy’s in November 2025 when YoungBoy dropped his ‘Zero IQ Freestyle.’ Users appeared to believe that his lyric, “I f***** on her, Jania was mad, but over nothin’, that h* was trash,” was about Nique. Additionally, Yaya Mayweather appeared to confirm the speculation. However, YoungBoy ultimately shut down the rumor.

At the time, however, Jania Meshell appeared to insinuate that she had a friend who was kicking her while she was down. Then, fast-forward to this morning: Nique showed that she was right by YoungBoy’s side, in his passenger seat.

At this time, the nature of Nique and NBA YoungBoy’s relationship remains unclear. Meanwhile, Jania Meshell has made it clear that she and NBA YoungBoy are nothing more than co-parents. This, while NBA YoungBoy has reportedly covered up his tattoo of her name.

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By Chris Snellgrove
| Published 1 hour ago

Buffy the Vampire Slayer is a show that very nearly got an animated spinoff. Sadly, that show never saw the light of day, and this cartoon project remains deader than the Master. However, that didn’t keep this seminal urban fantasy show from inspiring one of the greatest animated series in television history!

You see, one of Buffy’s biggest fans was Bruce Timm, who kickstarted the DC Animated Universe with Batman: The Animated Series. He went on to produce other beloved DCAU shows, including Justice League Unlimited. In a bit of geeky synchronicity, the JLU episode “This Little Piggy” was inspired by the Season 2 Buffy episode “Bewitched, Bothered, and Bewildered.”

Ratty, The Vampire Slayer

The Buffy episode in question has its characters gearing up for Valentine’s Day, and Xander gets his heart broken when a peer-pressured Cordelia breaks up with him. He then forces local witch Amy to cast a love spell on his ex, but it ends up backfiring, and everyone but Cordelia falls in love with the young man. Eventually, the spell is reversed, and Xander gets back together with Cordelia, but along the way, a jealous Amy transforms Buffy into a rat.

What does this rat transformation have to do with Justice League Unlimited? That show’s producer (animation legend Bruce Timm) was a big fan of Buffy, and he thought that “Bewitched, Bothered, and Bewildered” would feature a different ending. Specifically, he thought that Buffy would have to use her Slayer skills to fight off a cat (she does approach the kitty and unexpectedly scares him off) while she was still transformed into a rat!

Wonder Woman Or Wonder Bacon?

Obviously, that didn’t happen, but Timm still thought it was a cool concept. So cool, in fact, that he wrote something similar into his own show. In the Justice League Unlimited episode “This Little Piggy,” Circe transforms Wonder Woman into a pig, leaving Batman with the unenviable task of figuring out how to restore his kindasorta goddess girlfriend (it’s complicated) back to her divine self.

In the audio commentary for “This Little Piggy,” Bruce Tim revealed that this Wonder Woman plot point was based on how he thought the ratty Slayer would have to fight the cat. In the Justice League Unlimited episode, Wonder Woman is a bit like Buffy: she is transformed into an animal but otherwise retains her human intelligence. Unlike Buffy, though, Wonder Woman has to fight against humans who aren’t afraid to take her to the slaughterhouse.

Slay, Queens!

This is evident when one of the humans tries to kill her with a gun; when he fires what would have otherwise been a fatal blast, Wonder Woman deflects the shot with her bracers. It’s a crowd-pleasing moment, one that shows that the Amazon’s warrior spirit is more than skin deep. The scene also helps to illustrate what Timm was hoping to see in “Bewitched, Bothered, and Bewildered:” a transformed hero taking on foes who are way above her weight class.

As a very different kind of cartoon pig might say, th-th-th-that’s all, folks! A forgotten episode of Buffy the Vampire Slayer ended up inspiring one of the craziest episodes of Justice League Unlimited, transforming Wonder Woman into a pig just as Buffy was transformed into a rat. It’s a fun bit of franchise crossover that reminds us of a very important point: no matter what form they take, these two women know how to slay!

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Gold Medalist Alysa Liu
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Published
February 26, 2026
10:58 AM PST

By Jonathan Klotz
| Published 50 seconds ago

It will always be a little strange to see a high-profile original series move from one streaming service to another, but as more and more discover the real money is in licensing out their productions versus streaming them themselves, it’s going to become more common. Amazon’s deal with Netflix involving the MGM catalog includes not only all of the James Bond films, but also 2015’s The Man in the High Castle, an alternate-history take on the world in which the Allies lost World War 2. The four seasons series is coming to Netflix on March 11 where again, the Netflix effect is going to turn the decade old show into another hit.

An Alternate World Where The Allies Lost World War 2

The Man in the High Castle might be worth the effort. The series loosely adapts the book by Philip K. Dick, very loosely, the two take place in the same world but the book goes further into mysticism, philosophy, and presents a far scarier world where the Nazi control of half the world has been completely normalized. By contrast, the television adaptation has a significantly larger cast with more of a focus on individualism, depicting a far more divided world, and it includes a guy by the name of Adolf Hitler. 

The less you know about The Man in the High Castle when you go into it, the more you’ll be able to appreciate the wild twists and turns that the dystopian story takes in a world where no one is safe. It starts off with Joe Blake (Luke Kleintank) in New York, offering to drive a truck into the Neutral Zone (the Rockies) for the Resistance, while on the opposite coast, under rule of the Japanese, Juliana Crane (Alexa Davalos) is escorting a box of film to the Neutral Zone for the Resistance. Those films show a different world, one where the Allies won World War 2. Our world. 

A Decade Later Man In The High Castle Is Going To Be A Hit

As far as hooks go, it’s a pretty good one. Fans and critics agreed that the first season was, at the time, a high point for an original streaming series weith a 95 percent fresh rating. The Man in the High Castle wobbles a bit under the weight of the story, and its cast of dozens of characters (including Rufus Sewell as an American officer who accepted the Third Reich’s offer to join them) to keep track of, but it levels out towards the end and finishes strong. Don’t worry, there’s no sudden cancelation cliffhanger here. 

It will be interesting to see the response to The Man in the High Castle a few months after Peacemaker Season 2 tackled a similar plot. What if the Nazis won World War 2 is one of the most common thought experiments in the world of alternate history, but it’s never been done on the same scale and production budget as it was in the Amazon original series. On March 11, thanks to the power of Netflix, it will feel like the show, over a decade old at this point, is being discovered for the first time. Stay away from social media to avoid the spoilers, but more importantly, the inevitable “hot takes” that will do nothing but raise your blood pressure.