Cannes Review: Jacques Audiard’s Emilia Perez is an Audaciously Bad Dud
There’s a lot to look forward to in what has been branded a Mexican comedy-thriller musical from the Palme d’Or winner that brought us Dheepan, A Prophet, Rust...
Luke Hicks
Cannes Review: Yorgos Lanthimos’ Kinds of Kindness is an Anthology Film of Dark if Slight Delights
This one is for the true Lanthimites, the Dogtooth sisters, the biscuit women, The Killing of a Sacred Deer heads, a film to which the callbacks are so abundan...
Cannes Review: Francis Ford Coppola’s Megalopolis is a Garish Wonder to Behold
If you dove head first into Francis Ford Coppola’s Megalopolis, you would get a concussion. The filmmaker’s supposed opus––a glitzy, gargantuan, long-gestating...
Ryûsuke Hamaguchi on Evil Does Not Exist, Being in Harmony with Nature, and Why the Ending is Realistic
On a bright summer day in a tent on top of the sultry clay courts that give the Tennis Club Venezia its name, writer-director Ryûsuke Hamaguchi––known for his ...
Berlinale Review: Gustav Möller’s Sons Captures the Descent of the Danish Prison System
We don’t step evenly into Sons. Over the stretch of a long, grim elevator ride––face-to-face with Eva (Sidse Babett Knudsen), a middle-aged woman working as a ...
Luke Hicks’ Top 10 Films of 2023
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.
The ...
Venice Review: Hit Man is a Sexy, Alluring Addition to Richard Linklater’s Corpus
One night in 2016, I was working at a small movie theater in Austin, Texas, when a man leaned over the cash register and shook my hand. “Thanks for tonight,” h...
Venice Review: Sofia Coppola’s Brilliant Priscilla is a Breezy, Crushing Biopic
Raised in tow of a military stepfather, 14-year-old Priscilla Beaulieu lives in a West German US Air Force base when we meet her in 1959––the year she meets El...
Venice Review: Michael Mann’s Ferrari Finds Religion on the Racetrack
In Modena, everyone is losing––the football club, the women, the Ferraris. It’s the spring of 1957, and ex-racer-turned-entrepreneur Enzo Ferrari (Adam Driver)...
Venice Review: Yorgos Lanthimos’ Poor Things is a Dense, Dizzying Showcase for Emma Stone
Bella Baxter––whose organic internal makeup I’ll leave to shocking reveal––was born an adult woman. The furiously beating heart of Yorgos Lanthimos’s new film,...
Luke Hicks
A New York City film journalist by way of Austin, TX, Luke is an arts enthusiast who earned his master’s studying film philosophy and ethics at Duke. He thinks every occasion should include one of the following: coffee, whiskey, tea, gin, beer, or olives.