Twenty years ago, Tom Hanks starred in what is widely considered the Coen brothers worst film. It’s a good time to look back at how The Ladykillers (as well as two other films released that year) fits into the star’s career.
A stealth candidate for the greatest film of 1999.
Five years ago, Jordan Peele unleashed his follow-up to the Oscar-winning Get Out, and audiences tripped over each other to unpack its many meanings. The film not only redefined the way we approach puzzle films, but how we should look at Peele’s entire career.
A salute to the directors—including Barry Jenkins, Christopher Nolan and Wayne Wang—who did a lot with very little money.
Our series on the future of film gets to how the theatrical experience has changed through an interview with Fathom Events CEO Ray Nutt.
The Bourne Identity director made headlines by threatening to boycott the premiere of his new movie, Road House. It’s just the latest example of how this idiosyncratic filmmaker can often be his own worst enemy—even when his movies end up being great.
The musician’s new documentary In Restless Dreams briefly mentions his failed 1980 film One-Trick Pony. But that muted, uneven drama deserves a second look for what it says about the man who made it.
Before Meet the Parents established the Raging Bull Oscar-winner as a comedy superstar, this 1999 hit first signaled De Niro’s pivot from serious to funny, for better or worse.
The glamour inside, the protests outside, and everything in between.
The Oscar sandwich: a slab of gloriousness between two slices of bad
On the interesting POV of the upcoming Jeff Nichols film.
A look at the recent non-fiction films by and about Latinas.
An interview with the director of a new film starring Rita Moreno.
On the way horror uses podcasting.
A look at the ’50s classic with Marilyn Monroe and Jane Russell.
A report on the state of the Costume Designer industry, including winners from the recent awards and comments from Poor Things’ Holly Waddingham.
On how two recent films twist the Frankenstein myth to their own ends.
A feature on the redemption arc in fiction, through the lens of Avatar: The Last Airbender.
On the women who saw the future.
