Andrew Ward

Richard Kelly on Expanding the World of Southland Tales, Cannes Cut Reactions, and the Aftermath of 9/11

To argue there's been a Southland Tales renaissance over the past decade is hardly controversial. Widely derided at its 2006 Cannes premiere—famous out the gat...

Arnaud Desplechin on Melding Frederick Wiseman and Sidney Lumet with ‘Oh Mercy!’

For fans of his highly idiosyncratic filmmaking, Oh Mercy! is a fascinating entry into Desplechin’s oeuvre for precisely all of the reasons that it deviates from the characteristics we’ve come to associate with him....

Review: ‘Bohemian Rhapsody’ is a Disgrace to Freddie Mercury, Queen, and the Musician Biopic

A cursory glance at the production history of Bohemian Rhapsody, the long in-development biopic of Queen frontman Freddie Mercury, would almost be enough to fil...

Review: ‘Saturday Church’ Tells a Generic Coming-of-Age Story with Conviction

Saturday Church is the sort of debut indie feature that would be best played with the sound off. In some ways, this is more of a compliment to the film’s virtue...

First Look Review: ‘PROTOTYPE’ is a Staggering Mix of History and Cinematic Experimentation

The deadliest hurricane ever to make landfall within the U.S. occurred in-and-around the coastal city of Galveston, Texas in 1900. The storm took roughly 10,000...

Review: ‘The Ballad of Lefty Brown’ is a Hollow, Half-Hearted Western

Some obligatory credit is due to those ambitious (or, depending on the results, naive) enough to establish their name as a feature film director in 2017 on the ...

Joachim Trier on Memory, Trauma, and the Fairytale Appeal of ‘Thelma’

We spoke to Trier about his experience exploring ideas in different genres, working with CGI, and the career-making lead performance from Eili Harboe ahead of the film’s premiere in New York....

Richard Kelly Reflects on ‘Donnie Darko’ and Finding Catharsis in Apocalyptic Narratives

15 years after the release of Donnie Darko, we speak to the writer-director about his cult hit....

News

The Criterion Collection’s December Lineup Includes No Country for Old Men on 4K, Sammo Hung & More

Amnesiascope Presents a Rarely Screened Maggie Cheung Film on Tuesday, September 17

Cinephile Game Night Returns to 62nd New York Film Festival

Trailers

Masterful Japanese Noir Yokohama BJ Blues Receives New Trailer Ahead of December Rerelease

U.S. Trailer for Mati Diop’s Golden Bear-Winning Dahomey Gives Voice to Art

Sebastian Stan is Donald Trump in the First Trailer for The Apprentice

Reviews

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

TIFF Review: Joseph Kahn’s Ick is a Riotous, Satirical Take on the Creature Feature

Features

NYC Weekend Watch: A Different Man Influences, Johnnie To, Ingrid Caven & More

New to Streaming: Red Rocket, Robot Dreams, Kneecap, Riddle of Fire & More

The Best Movies Now Playing in Theaters

Interviews

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

Lee Daniels on The Deliverance, Shifting Culture, Douglas Sirk, and That Glenn Close Performance

Podcasts

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)

The Film Stage Show Ep. 546 – Trap (with Dan Mecca)

Andrew Ward

Richard Kelly on Expanding the World of Southland Tales, Cannes Cut Reactions, and the Aftermath of 9/11

Arnaud Desplechin on Melding Frederick Wiseman and Sidney Lumet with ‘Oh Mercy!’

Review: ‘Bohemian Rhapsody’ is a Disgrace to Freddie Mercury, Queen, and the Musician Biopic

Review: ‘Saturday Church’ Tells a Generic Coming-of-Age Story with Conviction

First Look Review: ‘PROTOTYPE’ is a Staggering Mix of History and Cinematic Experimentation

Review: ‘The Ballad of Lefty Brown’ is a Hollow, Half-Hearted Western

Joachim Trier on Memory, Trauma, and the Fairytale Appeal of ‘Thelma’

Richard Kelly Reflects on ‘Donnie Darko’ and Finding Catharsis in Apocalyptic Narratives

Andrew Ward