The Film Stage - Page 1123

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

The Criterion Collection’s October Lineup Features The Silence of the Lambs and Guillermo del Toro’s Frankenstein on 4K, Jerzy Skolimowski, and Samuel Fuller

Locarno Film Festival Unveils 2026 Lineup

Eleanor Coppola’s Documentary on the Making of Sofia Coppola’s Marie Antoinette Is Coming Soon

Trailers

Filipiñana Trailer: Rafael Manuel’s Jia Zhangke-Backed Sundance Winner Opens This August

Domhnall Gleeson Encounters a Strange Land In First Trailer for The Incomer

Tony Gilroy Returns in First Trailer for Behemoth!

Reviews

The Odyssey Review: Christopher Nolan’s Journey of Perpetual, Enervating Awe

The Kidnapping of Arabella Review: Offbeat Italian Road Trip Comedy

Night Nurse Review: A Perverse, Seductive Thriller

Features

NYC Weekend Watch: The Hole, Electronica, Gakuryu Ishii, Nicholas Ray & More

The Best Movies Now Playing in Theaters

New to Streaming: The Furious, City Wide Fever, Amores Perros, Camp & More

Interviews

Tsai Ming-liang on the Personal Inspiration of The Hole, Constant Evolution, and His Next Films

“How Do You Make a Contemporary Erotic Thriller”: Georgia Bernstein on Night Nurse and Catherine Breillat

David Wain on the Hard Work of Making Dumb Jokes

Podcasts

Yasmina Tawil on Progamming Hou Hsiao-hsien, David Fincher, Tom Tykwer & More for BAM’s Electronica Series

The B-Sides of Julia Roberts with Joe Reid

The B-Sides of Steven Spielberg with Bilge Ebiri

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