The Film Stage - Page 1117

Cannes Review: ‘Based on a True Story’ is an Uninspired Psychological Thriller from Roman Polanski

A psychological thriller directed by Roman Polanski and co-written by Polanski and Olivier Assayas – elevator pitches don’t get much more promising than that. S...

Cannes Review: ‘L’amant double’ is a Bizarre Exercise in Psychological Horror, Erotic Thriller, and Camp

L'amant double is the sort of film you wouldn’t mind seeing Roman Polanski take a stab at. Shot in chic but soulless Parisian interiors, it’s the type of thing ...

Cannes Review: ‘You Were Never Really Here’ is a Propulsive, Expressionistic Tour De Force

On the surface, Jonathan Ames’ You Were Never Really Here seems like an odd fit as source material for a film by Lynne Ramsay. Ames’ novella is a pulpy genre ex...

Cinematic Gold is Struck in Trailer for ‘Dawson City: Frozen Time’

In 1978, a construction crew breaking ground for a rec center found something completely unexpected buried under ice and debris in an old mining town in the...

Cannes Review: ‘Western’ is a Contemplative, Brilliant Critique of the Immaturity of Men

It is, undeniably, a bold decision to title one’s film Western: on the one hand, the word carries geopolitical weight and a cultural hegemony that the cinema is...

Cannes Review: ‘Claire’s Camera’ Has Seductive Energy and Low Stakes

Hong Sang-soo’s first film starring Isabelle Huppert, In Another Country, counts as one of the more lightweight entries in the Korean auteur’s oeuvre. Compare i...

Cannes Review: ‘Before We Vanish’ is a Playfully Philosophical Exercise in Apocalyptic Sci-Fi

There are few directors who would choose to take a semi-sincere approach to a lengthy pseudo-philosophical science-fiction film -- especially not one that light...

Cannes Review: ‘Rodin’ Doesn’t Do Justice to a Great Artist

It's one thing to make a movie about an artist and his art; it is a whole other thing to make a movie about an artist mostly just doing his art. That is the cen...

Cannes Review: Robert Pattinson Hits a Career High in the Dazzling, Drug-Fueled ‘Good Time’

It’s probably safe to say that, up until now, no lucid person had compared a Safdie brothers film to the work of Michael Mann. Indeed, it may still be a stretch...

Cannes Review: ‘In the Fade’ is a Compelling Socio-Political Revenge Thriller

Fatih Akin sends a cumbersome bull into the socio-political china shop of present-day Germany, and all its racial and social divides, with In the Fade, a compel...

News

Cinema Guild to Unveil Otar Iosseliani Restorations This Summer

The Criterion Collection Announces Complete Stanley Kubrick 4K Set

NYC Weekend Watch: Masahiro Shinoda, Budd Boetticher in 3D, Carlito’s Way & More

Trailers

Will Poulter Navigates an American Crisis In First Trailer for Union County

Exclusive Trailer for Japan Cuts 2026 Highlights the Best of New Japanese Cinema

Sophie Thatcher and Charles Melton Traverse Giallo Underworld In Trailer for Nicolas Winding Refn’s Her Private Hell

Reviews

Camp Review: An Absorbing, Dreamlike Journey of Finding Yourself

Jackass: Best and Last Review: Knoxville & Co. Return for One Last Encore

Romería Review: A Personal Tale of Intergenerational Dissonance

Features

Posterized July 2026: The Samurai and the Prisoner, The Odyssey, Night Nurse & More

12 Films to See in July

New to Streaming: Blue Heron, I Love Boosters, Tuner, The Sheep Detectives & More

Interviews

Ross McElwee on Remake and the Painful, Profound Process of Making a Testament to His Son’s Life

Tamra Davis on Billy Madison, Half Baked, Watching Fellini and Coppola on Set, Bonding with Britney Spears, and The Best Summer

“There’s No Incentive for a Filmmaker to Retire”: Alex Cox on Returning With Dead Souls

Podcasts

The B-Sides of Julia Roberts with Joe Reid

The B-Sides of Steven Spielberg with Bilge Ebiri

The B-Sides of Goldie Hawn with Jen Johans

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