The Last Movie Critic: A Tribute to Roger Ebert’s Legacy at Ebertfest

The documentary The Last Movie Critic premiered at the historic Virginia Theatre in Champaign, Illinois, as part of the 2024 Ebertfest lineup, drawing attention to the enduring influence of Roger Ebert on film criticism and culture. Far from being a eulogy, the film serves as a vibrant celebration of Ebert’s life, his passionate advocacy for cinema, and the ongoing relevance of thoughtful film criticism in the digital age.

Ebertfest, officially known as the Roger Ebert Film Festival, was founded by Ebert himself in 1999 and continues annually in his hometown of Champaign-Urbana. The 2024 edition marked the festival’s 25th anniversary, featuring a curated selection of films that reflect Ebert’s eclectic tastes—from international arthouse titles to overlooked gems and crowd-pleasing favorites.

What Is The Last Movie Critic About?

Directed by longtime Ebert collaborator and filmmaker Chaz Ebert, Roger’s widow and president of the Ebert Foundation, The Last Movie Critic blends archival footage, personal interviews, and reflections from critics, filmmakers, and friends to paint a nuanced portrait of Ebert’s career and character. The film explores how Ebert transformed film criticism from a niche newspaper column into a national conversation, leveraging television, books, and eventually the internet to reach millions.

Unlike traditional biographical documentaries, The Last Movie Critic avoids a strictly chronological approach. Instead, it organizes its narrative around themes: empathy in criticism, the moral responsibility of reviewers, and the power of film to connect people across cultures. Contributors include Martin Scorsese, Ava DuVernay, Richard Roeper, and critics from diverse backgrounds who credit Ebert with shaping their understanding of cinema as an art form.

Why Ebertfest Matters in 2024

Ebertfest remains one of the few film festivals guided by a clear philosophical mission: to celebrate cinema as a medium of human connection. Each year, the festival selects a theme—2024’s was “Movies That Matter”—and invites filmmakers to engage directly with audiences through Q&As, panels, and informal discussions.

This year’s lineup included Past Lives (Celine Song), The Zone of Interest (Jonathan Glazer), and American Fiction (Cord Jefferson), all films that Ebert likely would have championed for their emotional depth and social relevance. The festival also highlighted emerging voices, with a special focus on midwestern filmmakers and student work from the University of Illinois Urbana-Champaign.

According to festival organizers, attendance exceeded 15,000 over the five-day event, with screenings selling out days in advance. The Virginia Theatre, a restored 1921 movie palace, served as the central venue, its marquee glowing nightly with the Ebertfest logo—a symbol of continuity between past and present.

The Evolving Role of the Film Critic

The Last Movie Critic arrives at a time when the role of the professional film critic is frequently debated. With the rise of user-generated reviews on platforms like Rotten Tomatoes and Letterboxd, some argue that traditional criticism has lost its authority. But, the documentary contends that Ebert’s legacy offers a counterpoint: criticism at its best is not about gatekeeping, but about guiding audiences toward meaningful experiences.

As noted by critic Manohla Dargis in The New York Times, “Ebert didn’t just share us whether a movie was good—he helped us understand why it mattered.” The film echoes this sentiment, arguing that in an age of algorithmic recommendations, human-driven criticism remains essential for fostering media literacy and cultural empathy.

The documentary also addresses Ebert’s later years, including his public battle with cancer and the loss of his ability to speak following surgeries. Despite these challenges, he continued to write, blog, and engage with fans online, demonstrating an unwavering commitment to dialogue. His final blog post, published just days before his death in 2013, ended with the now-iconic line: “I’ll see you at the movies.”

Key Takeaways

• The Last Movie Critic premiered at Ebertfest 2024 as a tribute to Roger Ebert’s enduring impact on film culture.
• The documentary emphasizes empathy, accessibility, and the moral purpose of criticism—core tenets of Ebert’s philosophy.
• Ebertfest continues to thrive as a community-driven festival that prioritizes filmmaker-audience interaction over industry glamour.
• The film affirms that thoughtful criticism remains vital in an era dominated by algorithms and instant reactions.
• Chaz Ebert’s direction ensures the film is both personal and universal, honoring Roger’s voice while inviting new generations into the conversation.

Frequently Asked Questions

Is The Last Movie Critic available to stream?

As of May 2024, the documentary has not been announced for wide release or streaming. It premiered exclusively at Ebertfest and may be shown at other festivals or educational events in the future. Updates are typically posted on the official Ebertfest website.

Who is Chaz Ebert?

Chaz Ebert is the widow of Roger Ebert and president of the Ebert Foundation. She is a producer, lawyer, and advocate for diversity in film. She has played a central role in preserving Roger’s legacy through Ebertfest, the Ebert Scholars Program, and initiatives supporting underrepresented voices in cinema.

What was Roger Ebert’s most famous quote?

While Ebert had many memorable lines, his sign-off—“I’ll see you at the movies”—became synonymous with his warm, inviting approach to film criticism. It reflects his belief that cinema is a shared human experience.

How can I attend Ebertfest?

Ebertfest is open to the public. Tickets typically go on sale in the spring via the Ebertfest website. The festival offers various pass options, including single-screening tickets and full-festival passes. Early purchase is recommended, as popular screenings often sell out quickly.

The Legacy Continues

The Last Movie Critic is more than a documentary about a film critic—it’s a meditation on what it means to watch, experience, and think deeply about the stories we see on screen. By anchoring itself in Ebertfest, a festival built on conversation and community, the film reinforces the idea that criticism is not an endpoint, but an invitation: to see more, feel more, and talk more.

As the credits rolled at the Virginia Theatre, audience members lingered in the lobby, discussing the film over coffee—a scene Roger Ebert would have undoubtedly cherished. In an age of fragmented attention, moments like these remind us that cinema, at its best, is not just something we consume. It’s something we share.