Year: 2022

Fantasia Review: What to Do with the Dead Kaiju? is a Decent Skit Stretched Beyond its Elasticity

The easiest way to describe the tone of Satoshi Miki's realization of an objectively ingenious concept (What happens to the rotting carcass of a defeated kaiju...

Chaos Reigns in Trailer for 4K Restoration of Daisies

Few movies loom like Daisies, as beloved among first-year film students as it is revered by experts of the Czech New Wave. But being both introduction and figu...

10 Films to See in August

Closing out the summer movie season, August probably won't repeat last year when it comes to including the release of the eventual Best Picture. But there are ...

Bullet Train Review: Brad Pitt’s Charm Can’t Save Self-Indulgent Actioner

For a film filled with piles of dead bodies, generational family trauma, and a general bad-luck vibe, David Leitch’s Bullet Train lacks any sense of authentici...

Noah Baumbach’s White Noise Will Open the 60th New York Film Festival

In what feels like no time at all are we again looking towards the New York Film Festival, which launches on September 30 with some major buzz, drone, hiss, bu...

Intermission Ep. 13 – The Vanishing (with Susannah Gruder)

Welcome to the return of Intermission, a spin-off podcast from The Film Stage Show. Led by yours truly, Michael Snydel, I invite a guest to discuss an arthouse...

Jean-Luc Godard Transforms an Indian Village in Exclusive Trailer for Amartya Bhattacharyya’s Adieu Godard

It's accepted wisdom that the films of Jean-Luc Godard have transformed the very craft of cinema as we know it today, and filmmakers are continuing to find way...

Bodies Bodies Bodies Review: A Self-Aware Parody of Vapid Lives

Nine years into its existence, A24—the once-indie production and distribution label behind modern greats like Under the Skin (2013), Moonlight (2016), and Uncu...

GAIFF Review: Cyril Schäublin’s Unrest is a Quiet Film of Loud Ideas

The best word to describe Unrest is "clever." It isn't on the level of the artisans and thinkers it lovingly portrays—all the graphers (geo, carto, photo) and ...

Fantasia Review: Inu-oh Presents an Anachronistic Rock Opera to Breathe New Life into Ancient History

Director Masaaki Yuasa and screenwriter Akiko Nogi's adaptation of Hideo Furukawa's novel The Tale of the Heike: The Inu-oh Chapters finishes with a couple scr...

News

Francis Ford Coppola Confirms Musical Megalopolis Follow-Up The Glimpses of the Moon

Kelly Reichardt to Direct Josh O’Connor in The Mastermind, Acquired by MUBI

Go Behind-the-Scenes of Carol Reed’s The Third Man in Exclusive Photos From New Book Arriving on 75th Anniversary

Trailers

Blitz Trailer: Saoirse Ronan is Under Attack in Steve McQueen’s WWII Thriller

Robert Pattinson Respawns in First Trailer for Bong Joon-ho’s Mickey 17

Cillian Murphy Returns in First Trailer for Small Things Like These

Reviews

TIFF Review: Sylvia Chang’s Wonderful Performance Lifts Up Daughter’s Daughter

Venice Review: Jerry Lewis’ The Day the Clown Cried Emerges in From Darkness to Light

Venice Review: Kevin Costner Is Going Strong With Horizon: An American Saga – Chapter 2

Features

NYC Weekend Watch: Demonlover, Toute une nuit, First-Person Docs & More

New to Streaming: His Three Daughters, Last Summer, Coma, Cuckoo, Blink Twice & More

The Best Movies Now Playing in Theaters

Interviews

His Three Daughters Director Azazel Jacobs on Emotional Catharsis, Why He Can’t Shoot a Dying Scene, and the Craft of Acting

Look Into My Eyes Director Lana Wilson on Psychic Tradition vs. Therapy, the Loneliness of NYC, and Hirokazu Kore-eda’s After Life

Jeremy Saulnier on Rebel Ridge, the Power of Information Deprivation, and Staying Energized Through Production Delays

Podcasts

The Film Stage Show Ep. 548 – Janet Planet (with George W. Myers)

The Film Stage Show Ep. 547 – Horizon: An American Saga – Chapter 1 (with Jen Johans)

The Film Stage Show Bonus Ep. – Box Office Bonanza (January 14, 2005)