The Film Stage - Page 897

Cannes Review: ‘Little Joe’ Blooms a Sterile World with a Muddled Conceit

Jessica Hausner’s English-language debut Little Joe promises a crossbreed of shrewd science fiction and health care satire, but it scuppers its genre creds in e...

The Film Stage Show Ep. 348 – John Wick: Chapter 3 – Parabellum

We discuss the balletic, no holds barred action of John Wick's third outing....

Cannes Review: Broadly Comic Noir Makes for Surprisingly Subpar Porumboiu in ‘The Whistlers’

Of all the great deadpan, acerbic realists that the Romanian cinema has thrown our way in the last twenty years, Corneliu Porumboiu has always been the best at ...

New Restoration Trailer for Iconic Ballroom Culture Documentary ‘Paris Is Burning’

Premiering nearly three decades ago, Paris Is Burning was one of the most influential documentaries of the 1990s, spotlighting ballroom culture in all its g...

Cannes Review: Terrence Malick’s ‘A Hidden Life’ is a Wrenching Ode to Faith

When Austrian farmer Franz Jägerstätter (August Diehl) glances skyward and calls for God to show him a sign, to guide him, what does he hear? The rumbling of a ...

Cannes Review: Robert Pattinson and Willem Dafoe Astonish in the Boozy, Brilliant ‘The Lighthouse’

For all its finely considered dread, the reason Robert Eggers' ungulate-deifying debut The Witch made such a cultural mark had far more to do wit...

Montclair Review: ‘Yesterday’ Plays the Greatest Hits with Little Insight Into What Made Them Great

There's perhaps no genre Danny Boyle can’t work within. On the opposite spectrum from his darker works, Yesterday is a flawed yet mostly effective light and flu...

Review: ‘August at Akiko’s’ is a Whimsical, Hawaii-Set Tale of Belonging

Akiko’s Buddhist hostel has a message for its visitors, a laminated card sitting on a window sill: “Leave no trace, no face. In fact, leave only a presence, a f...

Cannes Review: ‘Les Misérables’ is an Ambitious, Sobering Debut Feature

The new film Les Misérables may take only passing glances to Victor Hugo's text but it does boast a synopsis worthy of the sheer exuberance of that ti...

Cannes Review: ‘First Love’ is a Deliriously Violent Mob Film from Takashi Miike

The last film legendary Japanese ultra-violence auteur Takashi Miike brought to Cannes' Directors' Fortnight (Yakuza Apocalypse, 2015) featured a character that...

News

New Restoration of Ken Russell’s The Devils Leads Cannes Classics 2026 Lineup

Whit Stillman Plans Return with Adam Brody-Led A Night at Claridge’s; Sebastian Stan and Ana de Armas to Lead Felipe Gálvez’s Impunity

Ryûsuke Hamaguchi’s Rare Touching the Skin of Eeriness Screens May 19

Trailers

Maddie’s Secret Trailer: John Early Crafts a Sincere Satire in Directorial Debut

Kamal Aljafari Documents a Vanishing Land In Exclusive Trailer Debut for With Hasan in Gaza

Dominic Sessa is Anthony Bourdain in First Trailer for Matt Johnson’s Tony

Reviews

Blue Film Review: Masterful Two-Hander Confronts Flaws with Empathy

Our Land (Nuestra Tierra) Review: Lucrecia Martel’s Essential Document of Indigenous Resistance

This is Not a Drill Review: A Sharp Portrait of Climate Activists Who Still Fight

Features

Posterized May 2026: Renoir, I Love Boosters, Backrooms & More

New to Streaming: A Magnificent Life, Wuthering Heights, Stranger Eyes, An Unfinished Film & More

NYC Weekend Watch: Tony Leung, Bellissima, Whisper of the Heart & More

Interviews

Silent Friend Director Ildikó Enyedi on Capturing a Tree’s Perspective and the State of a Soul

Arnaud Desplechin on Two Pianos, Nervous Breakdowns, and Making Cinema Bigger Than Life

“Objectivity Is Not Possible”: Lucrecia Martel on Crafting Her First Documentary

Podcasts

The B-Sides of Chow Yun-Fat

Josh Heaps on the DIY Horror of City Wide Fever

The B-Sides of Steve Martin with Eric D. Snider

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