The Film Stage - Page 989

Venice Review: ‘Dragged Across Concrete’ Ushers in a Tamer S. Craig Zahler

Anyone transfixed by the hyper-stylized meathead triumph of blood and violence of Brawl in Cell 99 should be warned. Dragged Across Concrete, S. Craig Zahler’s ...

Venice Review: ‘At Eternity’s Gate’ is a Transfixing and Visceral Vincent Van Gogh Biopic

When Vincent Van Gogh stares at the flat southern France landscape in Julian Schnabel’s contemplative At Eternity’s Gate, what does he see? Cemeteries of dead s...

Venice Review: Mike Leigh’s ‘Peterloo’ is a Dense, Devastating Historical Drama

With all the toing and froing over Netflix and Lars von Trier in the lead up to this year’s Cannes Film Festival, Thierry Fremaux's remarkable decision to rejec...

Review: ‘Kusama: Infinity’ Conventionally Captures a Groundbreaking Artist

When making a documentary chronicling the life and work of an iconic artist it is necessary and downright vital to interrogate why their art struck a chord in t...

A Love Triangle Forms in U.S. Trailer for Lee Chang-dong’s ‘Burning’

It's not usual to wait eight years in between projects from a director, but when your films are as accomplished as those of Poetry and Secret Sunshine helme...

Venice Review: ‘The Mountain’ Offers Another Exercise in Bleakness from Rick Alverson

There comes a telling moment near the beginning of The Mountain when Jeff Goldblum's doctor turns to his newfound apprentice to explain the workings of a camera...

Venice Review: ‘The Sisters Brothers’ is a Melancholic, Hollow Western

A mainstay in French for almost 40 years, Jacques Audiard frequently chronicles criminals and convicts (or ex-criminals/ex-convicts) trying to either navigate a...

Venice Review: ‘Why Are We Creative?’ Poses a Question to Artistic Geniuses

The question that Hermann Vaske has asked for over two decades is a large one. Why Are We Creative? There's no blanket answer — no right or wrong notion of the ...

Venice Review: ‘Suspiria’ is a Lush, Superflous Remake from Luca Guadagnino

Luca Guadagnino does a lot of things very, very well. Indeed, it is hard to think of a working director more adept at capturing the tactile delights of stuff li...

Venice Review: ‘The Ballad of Buster Scruggs’ Isn’t Classic Coen Brothers, Still a Fine Western Anthology

Eyebrows were raised when the venerable contributors of Sight & Sound named Twin Peaks: The Return the second-best "film" of 2017 despite the fact that only...

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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