The Allure of Conspiracy Theories: On Oliver Stone’s ‘JFK’ and Hulu’s ‘11.22.63’
Berlin Film Festival: Michael Grandage and John Logan Talk ‘Genius’
Berlin Review: Emily Dickinson Biopic ‘A Quiet Passion’ Fails to Stir
Berlin Review: ‘Fire at Sea’ Offers a Superb Snapshot of the Refugee Crisis
Berlin Review: In ‘L’Avenir,’ Isabelle Huppert Takes Stock of Her Life
Berlin Review: ‘Strike a Pose’ Revisits the Complicated World of Madonna
Berlin Review: Thomas Vinterberg’s ‘The Commune’ Packs an Emotional Punch
Berlin Review: The U.S. Is Knee-Deep In Cyber-Terrorism in Alex Gibney’s ‘Zero Days’
Cohen Media Group Adds Ex-Film Comment Editor to Team
Fox Searchlight Production Head Claudia Lewis to Step Down in May
Harper Lee, Author of ‘To Kill a Mockingbird,’ Dead at 89
How ‘The New Yorker Presents’ Got Made for Amazon Streaming
How They Did the Oscar-Nominated Makeup, Hair, and Sound for ‘The Revenant’
How They Made the Percussive Sound and Score for Oscar Nominee ‘Sicario’
Jessica Chastain Explains Why She Started ‘Freckle,’ Her Production Company
Listen to Atticus Ross’ Badass ‘Triple 9’ EP Right This Second (EXCLUSIVE)
Meet the Director of BAFTA-Winning Jordanian Oscar Entry ‘Theeb’
Online Ticketseller Fandango Acquires Digital Movie Brands Flixster and Rotten Tomatoes
Oscars: Evaluating the Best Sound Contenders
Review: In Engrossing, Essential ‘The Black Panthers: Vanguard of the Revolution,’ Past Is Prologue
Screen Talk: Does ‘The Revenant’ Have What It Takes to Win Best Picture?
Top 10 Takeaways: How R-Rated Marvel Action Comedy ‘Deadpool’ Rewrote February Box Office History
Why Director George Miller Could Still Beat A.G. Iñárritu at the Oscars for ‘Mad Max: Fury Road’
Why Iñárritu’s ‘The Revenant’ Will Likely Win Best Picture
Women Activists Rocked Sundance, Celebrating a Sea Change
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