Following The Film Stage's collective top 50 films of 2023, as part of our year-end coverage, our contributors are sharing their personal top 10 lists.
When...
Just as Pulp Fiction triggered a wave of inferior gangster flicks with a penchant for witty, fast-paced dialogue and Get Out paved the way for several socially...
When it was first announced Warner Bros. was in the early stages of developing a Charlie and the Chocolate Factory prequel about Willy Wonka’s rise to fame and...
Director Noora Niasari’s debut Shayda––and Australia’s submission for Best International Feature at next year’s Oscars––is quite literally a lifetime in the ma...
You don’t make a movie called Thanksgiving without mentally preparing for critics to label it a turkey. I suspect that pun will be dispensed quite a lot in rev...
At the time of year where every other film is a biopic chasing prestige respectability, we are lucky to have Quentin Dupieux, the prolific, serious-minded, sil...
At a time when breakthrough directors can only get incorporated into the studio system via micro-managed franchise blockbusters, it certainly pays to be friend...
Robin Campillo’s strengths as both a writer and a director revolve around his ability to personalize the most sprawling of ensemble pieces, never allowing view...
Toni Erdmann wasn’t the first film to skewer corporate culture, but the epic-length comedy struck a chord with many for how it used a fish-out-of-water conceit...
If, like me, you have a morbid fascination with the strangest conspiracies of the far right, chances are you’ve encountered protests around the concept of the ...
Alistair is a freelance film and culture writer from Northern England, who has written for the BFI, Vice, GQ, and more. You can find him on Twitter @YesItsAlistair, although if you are allergic to bad puns, maybe think twice before smashing that follow button.
