The Film Stage - Page 870

TIFF Review: ‘Bad Education’ is a Roller Coaster Ride Exploring a Real-Life Crime with Complexity

How much would you spend on your child's education? Lori Loughlin money? Or more working-class parent utilizing public schools while voting Republican to keep t...

TIFF Review: ‘Uncut Gems’ Finds the Safdies and Adam Sandler at the Top of Their Game

There are two consistently pervasive ideas in the films of New York filmmaking duo Josh and Benny Safdie. The first is their clear affection for the art and cr...

Venice Review: ‘Ema’ is Pablo Larraín at His Most Freeform

Movies have been named after far less interesting forces than the protagonist of Ema. Played with unblinking gravitas by the Chilean television actress Mariana ...

TIFF Review: ‘Waves’ is an Emotional Knockout

The first few minutes of Trey Edward Shults’ Waves are positively dizzying. Amidst a throbbing Trent Reznor-Atticus Ross score, a high school wrestler, Tyler, d...

TIFF Review: ‘Knives Out’ Brilliantly Goes Beyond the Genre Demands of a Whodunit

No stranger to a good mystery—noir (Brick) or comedy (The Brothers Bloom)—Knives Out sees Rian Johnson back to a wholly original property before returning to th...

TIFF Review: ‘Ford v Ferrari’ is Supremely Entertaining, Even if it Doesn’t Break New Ground

James Mangold’s Ford v Ferrari is, in a word, sturdy. It’s the kind of airtight drama that could never be called groundbreaking or even original. But it offers ...

Kazik Radwanski & Deragh Campbell on the Adventurous, Introspective, and Collaborative Process of ‘Anne at 13,000 ft.’

We sit down the director and star during the 2019 Toronto International Film Festival to discuss crafting the film together, and how personal it was for both of them....

TIFF Review: Anthony Mackie is the Heart of ‘Synchronic,’ But One is Left Wanting More

When two paramedic best friends in New Orleans discovered the first unexplainable injury on their route, they didn’t really think much about it. The second? Wel...

The Film Stage Show Ep. 363 – American Factory

We discuss the Sundance-winning documentary American Factory, now available on Netflix. ...

TIFF Review: ‘Jojo Rabbit’ Blends Humor & Trauma in Familiar Fashion to Taika Waititi’s Previous Work

To start with Jojo Rabbit, we should look at Taika Waititi's previous films Boy and Hunt for the Wilderpeople, both of which operate in a similar fashion to his...

News

Japan Cuts Announces 2026 Slate Featuring Hirokazu Kore-eda, Gakuryu Ishii, Yoji Yamada & More

Alice Rohrwacher to Direct The Baron in the Trees; Next Film to Be Primarily Silent

Cristian Mungiu’s Fjord Wins Palme d’Or: See Full List of Cannes 2026 Winners

Trailers

Cemre Paksoy’s Hands Are Tied In Trailer for Georgia Bernstein’s Sinister Sundance Favorite Night Nurse

Marcello Mastroianni Yearns In Trailer for 4K Restoration of Luchino Visconti’s White Nights

Exclusive Trailer for Greg Vrotsos’ Feature Debut Situations Follows a Journey of Love and Ambition in Los Angeles

Reviews

The Death of Robin Hood Review: A Portrait of the Outlaw as a Bald-Faced Lie

Tribeca Review: Here I’m Alive Is a Raw, Intimate Look at Messy New York Lives

I Am Frankelda Review: Mexico’s First Stop-Motion Feature Speaks Truth to Power

Features

The Best Movies Now Playing in Theaters

NYC Weekend Watch: Douglas Sirk in 3D, The Organizer, Body Double & More

The Film Stage’s 2026 Tribeca Festival Portrait Gallery

Interviews

“The Hard Work Is In the Screenwriting”: John Sayles on Resourceful Filmmaking, James Cameron, and His TIFF Retrospective

The Currents Director Milagros Mumenthaler on Sensory Filmmaking, Motherhood, and Capturing an Internal State

“Making Movies Should Be a Pleasure”: Olivier Assayas on The Wizard of the Kremlin

Podcasts

The B-Sides of Goldie Hawn with Jen Johans

The B-Sides of Laurence Fishburne with Mitchell Beaupre

The B-Sides of Eddie Murphy with Nicholas Gray and Alvin Keith

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