I have to imagine that one of the most difficult parts of making a documentary is that when real life writes the plot, you really... Read More
Other
Horizon: An American Saga – Chapter 1 made only $36 million at the box office, prompting Warner Bros. to yank Chapter 2 from its original... Read More
Life affirming dramas or tear-jerking romcoms should do at least one of those things—affirm life, or make you cry a little while amused by the... Read More
British director Asif Kapadia has a penchant for the tragedy; his works include a triple threat of documentaries on icons – the tragic loss of... Read More
ANORA (dir. Sean Baker, NEON) Mikey Madison is truly an iconic star. As the spunky Ani, an exotic dancer from Brooklyn, Madison owns the screen... Read More
Love, the second film in Norwegian writer-director Dag Johan Haugerud’s trilogy exploring human connections (Sex premiered this year at the Berlinale and Dreams is still... Read More
Haunted houses are scary, but the hidden personal demons that are common in our modern society are at least just as disturbing. In Steven Soderbergh’s... Read More
In his third feature, Swedish filmmaker Magnus von Horn delivers a striking look at one of Denmark’s most haunting crimes. What could have been a... Read More
With the streaming bubble on the verge of collapse and cable in continual freefall, we’re seeing more and more filmmakers making movies about the television... Read More
In this Telluride Film Festival capsule review edition we’ve got Joshua Oppenheimer’s golden age musical The End, Jacques Audiard’s Cannes-winning musical Emilia Peréz and Jason... Read More

AwardsWatch Podcast Ep. 341 – Diving into Emmy Season with First Predictions
2026 Tonys: Laurie Metcalf (‘Little Bear Ridge Road,’ ‘Death of a Salesman’) May Join Elite Group of Double-Nominated Performers
2026 Tribeca Festival Celebrates 25th Anniversary with World Premieres of ‘Hadestown: The Musical,’ ‘Earth, Wind & Fire’ Doc
Director Watch Podcast Ep. 149 – ‘Killer of Sheep’ (Charles Burnett, 1978)
‘Lee Cronin’s The Mummy’ Review: Careful the Spell You Cast, Children Will Listen (and Sometimes Kill) [C]
‘Beef’ Season 2 Review: Oscar Isaac, Carey Mulligan, Cailee Spaeny and Charles Melton Sink Their Teeth Into Lee Sung Jin’s Meaty Morality Tale [A-]
Interview: Director David Lowery on How ‘The Red Shoes,’ Taylor Swift, and Artistic Internal Struggles Were Forged to Conjure Up ‘Mother Mary’ [AUDIO]
George Clooney to be Honored at 51st Chaplin Award Gala by Stephen Colbert, Sam Rockwell and More
2026 Tonys: Laurie Metcalf (‘Little Bear Ridge Road,’ ‘Death of a Salesman’) May Join Elite Group of Double-Nominated Performers
2026 Tribeca Festival Celebrates 25th Anniversary with World Premieres of ‘Hadestown: The Musical,’ ‘Earth, Wind & Fire’ Doc
‘No Other Land’ Review: Basel Adra’s Palestinian Doc is a Story of Survival and Resilience and Demands Your Attention | TIFF
‘Horizon: An American Saga – Chapter 2’ Review: I Think We’ve Seen This Film Before and We Still Don’t Have an Ending | Venice
‘We Live in Time’ Review: Florence Pugh, Andrew Garfield Romantic Drama is Less a Tear-Jerker and More Like a Forced Extraction | TIFF
Interview: Asif Kapadia Breaks Down His Genre-Bending Venice Entry ‘2073,’ AI, and Why He Cast Samantha Morton
2024 Telluride Film Festival Capsule Reviews: ‘Anora,’ ‘September 5,’ ‘The Piano Lesson’
‘Love (Kjærlighet)’ Review: First There Was ‘Sex,’ Now Dag Johan Haugerud’s Middle Trilogy Film Looks for What ‘Dreams’ May Come | Venice
‘Presence’ Review: Steven Soderbergh’s Haunted House Drama is Quietly Terrifying | TIFF
‘The Girl with the Needle’ Review: Magnus von Horn Serves a Gripping and Bleak Tale of Unspeakable Violence | TIFF
‘The Luckiest Man in America’ Review: A Game Show Scandal Fuels a Compelling Character Study with an Uncanny Performance by Paul Walter Hauser | TIFF
2024 Telluride Film Festival Capsule Reviews: ‘The End,’ ‘Emilia Peréz,’ ‘Saturday Night’
AwardsWatch Podcast Ep. 341 – Diving into Emmy Season with First Predictions
Director Watch Podcast Ep. 149 – ‘Killer of Sheep’ (Charles Burnett, 1978)