The Film Stage - Page 1120

Cannes Review: ‘Godard Mon Amour’ Offers a Playful Pastiche on the Re-Radicalization of Jean-Luc Godard

It's more Pastiche du Godard than Histoire(s) du Godard in Michel Hazanavicius’ Godard Mon Amour and that’s not a bad thing. The director’s slight but surprisin...

The Film Stage Show Ep. 242 – Alien: Covenant

We talk about the newest film in the long-running Alien franchise, Alien: Covenant, directed by Ridley Scott....

Watch: Nicole Kidman Flosses and Colin Farrell Shows His Hair in First ‘The Killing of a Sacred Deer’ Clips

Yorgos Lanthimos’ The Killing of a Sacred Deer recently debuted at the Cannes Film Festival, where it proceeded to make an entire audience uncomfortable, as...

Cannes Review: ‘The Rider’ is a Beguiling Docudrama Set in the American Plains

What does a cowboy do when he can’t ride? Chloe Zhao’s absorbing South Dakota-set sophomore feature has its titular rider come to terms with such a fate, in a f...

Cannes Review: ‘The Florida Project’ is Aesthetically Rich, But Narratively Slight

There are surely few sweeter delights in this troubling world of ours than seeing Willem Dafoe politely escort a group of storks off a motel driveway. It is, pe...

Cannes Review: ‘The Killing of a Sacred Deer’ is Pure and Simple Sadism

With the successive features Dogtooth, Alps, and The Lobster, Yorgos Lanthimos seemed to be going down the same route as Wes Anderson, i.e. become one of those ...

Montclair Review: ‘No Man’s Land’ Goes Beyond Headlines of the Oregon Standoff

Documentaries such as David Byars’ fascinating No Man's Land have an important function going beyond the headlines, memes, and talking points that prove to be d...

Cannes Review: ‘The King’ Links the Death of the American Dream with Elvis Presley

Editor's Note: Promised Land has been retitled The King for its U.S. release. See our review below. A title like Promised Land can be appreciated for its dua...

Review: ‘Pirates of the Caribbean: Dead Men Tell No Tales’ is an Overwrought, Unimaginative Adventure

Dead men tell no tales, and the Pirates of the Caribbean franchise should really stop telling them too. Unfortunately, Disney’s been beating this dead horse for...

Cannes Review: ‘Happy End’ is a Restrained Amalgamation of Michael Haneke’s Oeuvre

Happy End is a perplexing title for a movie by Michael Haneke, a filmmaker not exactly known for his irony whose endings have ranged from the death of all the c...

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

New to Streaming: The Prisoner, Silent Friend, Obsession, Fiume o morte! & More

NYC Weekend Watch: 70mm Conspiracies, Immigrants, Spectres, Sherman’s March & More

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