<em>Leave the World Behind</em> is a Tense, Uneasy Thriller

Leave the World Behind is a Tense, Uneasy Thriller

Olivia Rutigliano on Sam Esmail’s Adaptation of Rumaan Alam’s National Book Award-Nominated Novel

By Olivia Rutigliano | November 17, 2023

How <em>Siskel & Ebert</em> Brought Movies to the People

How Siskel & Ebert Brought Movies to the People

Matt Singer on the Bygone Era Before Movie Clips

By Matt Singer | November 17, 2023

Why <em>Maurice</em> is Still a Resonant Text for the Queer Audience

Why Maurice is Still a Resonant Text for the Queer Audience

David Greven Defends a Merchant Ivory Adaptation

By David Greven | November 15, 2023

<em>Dream Scenario</em> is a Worthwhile Head Trip

Dream Scenario is a Worthwhile Head Trip

The new film starring Nicolas Cage is a thoughtful and engaging, if slightly overambitious, meditation on fame, attention, and parasocial connection.

By Olivia Rutigliano | November 10, 2023

Sweet Nothings: On the Emptiness of Sofia Coppola’s <em>Priscilla</em>

Sweet Nothings: On the Emptiness of Sofia Coppola’s Priscilla

Hannah Bonner on the Director’s Latest “Waiting Woman”

By Hannah Bonner | November 10, 2023

The Most Unlikable Woman: On Sofia Coppola’s Stymied Quest to Bring Undine Spragg to Screen

The Most Unlikable Woman: On Sofia Coppola’s Stymied Quest to Bring Undine Spragg to Screen

Apple TV+ Isn’t Moving Forward with a Series Adaptation of The Custom of the Country. It’s Their Loss.

By Emily J. Orlando | November 8, 2023

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Laughing At Evil: When Charlie Chaplin Brought Hitler to the Big Screen

By Scott Eyman | November 3, 2023

How 1950s Hollywood Tried (and Failed) to Make Literary Adaptations Big

By Foster Hirsch | November 3, 2023

We Almost Got a Superhero Movie from The Exorcist Director William Friedkin

By Paul Morton | November 3, 2023

Love and Looking: On What We (Don't) See Together

Love and Looking: On What We (Don't) See Together

Devorah Baum Considers the Role of Observation in Art and Romance

By Devorah Baum | November 2, 2023

Kristen Roupenian and Susanna Fogel on Adapting “Cat Person” for Film

Kristen Roupenian and Susanna Fogel on Adapting “Cat Person” for Film

“The movie gets to make a lot of different choices—and has to, to be full and rich.”

By Literary Hub | November 2, 2023

What to Read Before and After Seeing <em>Orlando, My Political Biography</em>

What to Read Before and After Seeing Orlando, My Political Biography

On Virginia Woolf, Orlando, and Trans Lives

By Literary Hub | November 1, 2023

Silvia Garcia-Moreno on <em>Dracula</em>’s Depictions and Descendants

Silvia Garcia-Moreno on Dracula’s Depictions and Descendants

Vampires! Vampires! Vampires!

By Silvia Moreno-Garcia | October 31, 2023

Something Is Rotten in Horror’s Use of Pedagogy

Something Is Rotten in Horror’s Use of Pedagogy

Tyler Malone on the Canker in the Classroom

By Tyler Malone | October 31, 2023

“Leisure, Labor, Reticence, Violence”: What Horror Films Can Teach Us About Poetry

“Leisure, Labor, Reticence, Violence”: What Horror Films Can Teach Us About Poetry

Justin Phillip Reed Considers Craft and Alienation on the Screen and on the Page

By Justin Phillip Reed | October 31, 2023

<em>The Holdovers</em> is a Revelation

The Holdovers is a Revelation

Alexander Payne's new film is perfect, full stop.

By Olivia Rutigliano | October 27, 2023

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