Latest Features
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Martin McDonagh on Spontaneity, Humanity, and Why ‘Three Billboards’ Needed Frances McDormand

McDonagh’s newest film is Three Billboards Outside Ebbing, Missouri, featuring Frances McDormand as a woman who goes to war against her small town’s police department over her daughter’s unsolved murder. We sat down with him to speak about the film and his idiosyncratic writing process.

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‘American Gangster’ and the Two Sides of Ridley Scott

As American Gangster turns 10, we look at his Denzel Washington-led crime drama.

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‘God’s Own Country’ Director and Stars on Making a Romance for the Ages

Judging from the precision of the characters and the seamless storytelling at hand, it’s incredible to believe that God’s Own Country is director Francis Lee’s debut feature.

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Mark Frost on ‘Twin Peaks,’ Realistic Endings, and David Lynch’s Consciousness

We talk with the writer who has returned, post-finale, with a second and, judging by its title, more definitive text.

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The Cinematic Kinship of Richard Linklater and Hal Ashby

We look at the shared cinematic language of the two directors as Linklater’s freewheeling career takes him back to the 1970s this week with Last Flag Flying, a 44-years-belated sequel to Ashby’s masterpiece The Last Detail.

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The Film Stage Show Ep. 270 – The Killing of a Sacred Deer

We discuss The Killing of a Sacred Deer, starring Colin Farrell and Nicole Kidman, the newest film from Yorgos Lanthimos.

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Stephen Cone on ‘Princess Cyd,’ Film Twitter, and the Economics of Indie Filmmaking

We talk to the writer-director about his filmmaking process, Marilynne Robinson’s sex life, and learning from (and disagreeing with) Armond White.

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New to Streaming: ‘Columbus,’ ‘Kiss Kiss Bang Bang,’ ‘Wind River,’ Alex Ross Perry, and More

All the newly streaming films on Amazon, Netflix, FilmStruck, and more.

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Posterized November 2017: ‘Call Me by Your Name,’ ‘Lady Bird,’ ‘Thelma,’ and More

This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats.



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