The Film Stage - Page 355

Charlie McDowell on Windfall, Being Inspired by Classic Noirs, and Casting Against Type

With his third feature, Windfall, writer-director Charlie McDowell crafts a playful deconstruction of the heist movie. With no specific character names, Lily C...

Jane by Charlotte Review: A Daughter Studies Her Mother in Intimate Yet Unengaging Doc

Is it possible for a documentary to be too intimate? If the answer is affirmative, a prime example might be Jane by Charlotte, actress Charlotte Gainsbourg’s s...

7 Films to See at Locarno in Los Angeles

Considering many films premiering at the Locarno Film Festival can take years to get a release here in the United States—should they get any at all—Locarno in ...

The Film Stage Show Ep. 464 – The Batman (with Brian Tallerico)

Welcome, one and all, to the latest episode of The Film Stage Show! Today, Brian Roan, Robyn Bahr, and Bill Graham are joined by Brian Tallerico to discuss Mat...

The Outfit Review: Mark Rylance Leads an Entertaining, Unassuming Mystery Thriller

The key to a good mystery isn't tricking the audience as much as it is entertaining them. The more you watch from this genre, the less slips past your percepti...

SXSW Review: Pretty Problems Explores “Authentic” Experiences for the Super Rich

Directed by SXSW alum Kestrin Pantera (Mother’s Little Helpers), Pretty Problems is yet another indie picture about a floundering 30-something couple stuck in ...

First Trailer for Tokyo Vice Heralds the Return of Michael Mann

It's not a new film, but Tokyo Vice can stand head and shoulders above most else of late, medium be damned, from one indisputable factor: Michael Mann, for who...

Arnaud Desplechin on Adapting Deception and Philip Roth’s Advice

Rarely have I been able to chart my relationship with a film like Arnaud Desplechin's Deception. When we spoke in fall 2015 he told me Philip Roth's slim, dial...

SXSW Review: The Unbearable Weight of Massive Talent is as Curious a Creation as Cage Himself

As unhinged as its muse, The Unbearable Weight of Massive Talent is a curious bit of fan service and perhaps a welcome evolution in the career of Nicolas Cage,...

SXSW Review: Everything Everywhere All At Once is a Rollicking Rollercoaster Ride Through a Pop-Culture Multiverse

A general rule film students learn the first few weeks of their intro class is that a film teaches you how to watch it within the first five minutes. Well, mos...

News

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

Metrograph Launches Print Publication with Inaugural Issue Featuring Ryusuke Hamaguchi, Clint Eastwood, Ari Aster & More

Léa Seydoux, Lee Kang-sheng, Margaret Qualley, Steven Yeun, Natalie Portman, Armie Hammer & More Set Next Roles

Trailers

Michel Gondry Returns to Animation in First Trailer for Maya, Give Me a Title

Steven Soderbergh Tells a Ghost Story in New Trailer for Presence

Exclusive Trailer for Jōhatsu, a Lithuanian Thriller Exploring a Japanese Phenomenon

Reviews

Juror #2 Review: Courtroom Thriller Represents the Best from Clint Eastwood’s Late Era

The Graduates Review: A Melancholic Look at a Community Bonded by Tragedy

AFI Fest Review: Robert Zemeckis’ Here Plays Like the Anti-Boyhood

Features

Tokyo International Film Festival Artistic Director Ichiyama Shôzô Offers Insight Into a Growing Organization

Posterized November 2024: A Traveler’s Needs, Queer, Flow, Bird & More

New to Streaming: Catherine Breillat, The Substance, Last Things, The Apprentice, and More

Interviews

“Nobody Ever Gave Me Anything”: Alan Rudolph on Robert Altman, Bruce Willis, Kurt Vonnegut, and Resurrecting Breakfast of Champions

Soundtrack to a Coup d’Etat Director Johan Grimonprez on a Jazz-Fueled, Kaleidoscopic Vision of Displaced Blackness

The Making of the Indian Sci-Fi Box-Office Sensation Kalki 2898 AD

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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