The Film Stage - Page 158

Venice Review: Woody Allen’s Coup de Chance is a Fleet Investigation of Crimes and Misdemeanors

Tempting though it is to pen this review in the voice and style of Mort Rifkin, the most indelible Woody Allen character in years, the embattled New York-born ...

NYC Weekend Watch: Sembène, Sorcerer, The Battle of Chile, Dennis Hopper & More

NYC Weekend Watch is our weekly round-up of repertory offerings. Film ForumAn essential retrospective of Ousmane Sembène, featuring 35mm prints and new rest...

New to Streaming: The Adults, Birth/Rebirth, Desperate Souls, Amanda & More

Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past r...

TIFF Review: Copa 71 Resurrects a Forgotten Landmark in Women’s Soccer

It’s one thing to ask a casual soccer fan if they've ever heard of the 1971 Women’s World Cup and hear a “No.” It’s another to get the same response from two-t...

Terrence Malick, Cate Blanchett, and Jonny Greenwood Collaborate on New Interactive Exhibit Premiering in Australia

While Terrence Malick happily toils away on year five of editing his Biblical epic The Way of the Wind, he's found a number of artistic diversions in recent ye...

TIFF Review: Kitty Green’s The Royal Hotel is a Tense but Flawed Outback Thriller

Pete Gleeson’s 2016 documentary Hotel Coolgardie came and went on the festival circuit, but it made a strong impression on those who caught it. Following two y...

Telluride Review: Saltburn is a Familiar, Fun Pop Thriller That Fails to Stick the Landing

It’s 2023 and the early 2000s are having a moment: blog rock is being celebrated, nü metal is back, and Emerald Fennell––perhaps recognizing this vibe shift––s...

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: Gasoline Rainbow is Another Mesmerizing Feat of Hybrid Filmmaking From the Ross Brothers

“The only difference between children and grown-ups is that the grown-ups are unsupervised.” This line, uttered in the second half of Bill Ross IV and Turner R...

Amerikatsi Review: Rear Window Meets Life Is Beautiful in Stubbornly Unfashionable Crowd-Pleaser

If “Rear Window meets Life Is Beautiful” sounds like an all-timer of a cursed elevator pitch, then there’s nothing Michael A. Goorjian’s well-intentioned crowd...

News

Bertand Bonello, Takashi Miike, Nikyatu Jusu, and More Plan Next Features

James Gray to Direct Adam Driver, Jeremy Strong, and Anne Hathaway in Paper Tiger

Tarsem Singh, Jaume Collet-Serra, Kim Jee-woon, Paul W.S. Anderson & More Set Next Films

Trailers

Armand Trailer: Renate Reinsve Leads Norway’s Oscar Contender

Oh, Canada Trailer: Richard Gere Reflects on His Life in Paul Schrader’s Poignant Drama

Billy Zane Transforms into Marlon Brando in First Trailer for Waltzing with Brando

Reviews

Riga Review: Dreamy Stereoscopic 3D Folk Tale Twittering Soul is One of a Kind

Riga Review: Saulė Bliuvaitė’s Locarno-Winning Toxic Will Worm Its Way Inside You

AFI Fest Review: September 5 is a Competent But Bloodless Thriller

Features

New to Streaming: A Different Man, The Outrun, My Old Ass, Used Cars & More

Five Highlights from the 2024 Tokyo International Film Festival

The Best Movies Now Playing in Theaters

Interviews

NYC Weekend Watch: Ken Kelsch, Il Grido, Flesh for Frankenstein 3D & More

“Life Is Worth Celebrating”: Tyler Taormina on Christmas Eve in Miller’s Point

Kani Kusruti on All We Imagine as Light, Girls Will Be Girls, and Indian Moviegoing Culture

Podcasts

The B-Side – Vincent Price (with Gavin Mevius)

The B-Side – Tim Burton (with Maria Lewis)

The Film Stage Show Farewell Episode – Megalopolis

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