The Film Stage - Page 917

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

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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