Film
Brea Grant (Best Friends Forever) Talks Ridley Scott’s The Martian
It's a sign of how good Scott's new movie is that this story about a guy stuck on the Red Planet feels so close to our own lives.
Ben Wheatley (A Field in England) Talks with Alex Cox (Repo Man) for The Talkhouse Film Podcast
A pair of cinephiles, who also happen to be brilliant filmmakers, talk about the movies they love and each other's work.
Riley Stearns (Faults) Talks Ariel Kleiman’s Partisan
A longtime fan of one of the best short filmmakers around dives into his much-anticipated debut feature.
Talkhouse Film Contributors Talk Watching Movies Under the Influence
Because sometimes seeing a film straight just isn't the right choice...
David Lowery (Ain’t Them Bodies Saints) Talks Denis Villeneuve’s Sicario
A procedural set against the backdrop of the war against drugs, Villeneuve's new movie is powerful, unsettling stuff.
Lloyd Kaufman (The Toxic Avenger) Talks Ondi Timoner’s Brand: A Second Coming
This doc portrait of a revolutionary, messianic narcissist takes on added resonance if viewed during and juxtaposed with the Pope's recent U.S. visit.
Shannon Plumb (Towheads) Talks Nancy Meyers’ The Intern
Some thoughts on Meyers' latest comedy, the elderly, the pleasure of the old school, this generation's hyperactive multi-tasking, and Robert De Niro.
Jeff Reichert (Remote Area Medical) Talks Jafar Panahi’s Taxi
In the concluding part of his trilogy made since being banned from filmmaking, the Iranian director continues to show invention and spirited defiance.
TV Writer Chris Goodwin (China, IL) Talks Scott Cooper’s Black Mass
A Boston native who grew up during the time of Whitey Bulger's reign sizes up this movie about the mobster's legend.
Jim Hemphill (The Trouble with the Truth) Talks Texasville, the Greatest Sequel That Hardly Anybody Saw
25 years after its release, it's time for a critical reappraisal of Peter Bogdanovich's unfairly dismissed follow-up to his most famous film.
Julia Pott (Belly) Talks Tony McNamara’s Ashby
Is it a retired hitman movie or an upbeat teen romcom? Either way, it's Emma Roberts' Eloise who gets the fan art.
Milcho Manchevski (Before the Rain) Talks Daniel Barber’s The Keeping Room
This feminist revisionist Western has a compelling and brilliantly constructed opening sequence, but can the rest of the film build on that promise?











