film essay

Clay Liford tries to work through his issues with the current fixation on spoilers and get to the root of why it all annoys him so much.

Sasha Gordon, writer-director of It Had to Be You, on those disappointing moments when life falls short of the movies.

Hope Dickson Leach on her struggles to combine parenthood and a filmmaking career, and how her debut feature, The Levelling, has changed her.

Jim Hemphill bangs the drum for Michael Goi's Megan is Missing, the one found-footage movie he thinks is worth a damn.

Writer-director Zach Clark recounts his adventures, both on and off screen, at the beloved genre film festival in Austin, Texas.

Alex Ross Perry ponders the problems caused by the non-disclosure of digital film sales numbers and the inability of movies to stand out on VOD.

Jennifer Reeder sets the record straight once and for all about female directors and big action movies. Yes, they want to make them. And now.

Jim Hosking, director of The Greasy Strangler, makes the case for the value and importance of cinema being, you know, enjoyable.

Queen of Katwe screenwriter William Wheeler on how his current collaborator shifted his perspective on storytelling and the world.

Ted Geoghegan pays tribute to the late Godfather of Gore, an unabashed fan of sleaze and goofy ultraviolence – and a born entertainer.

The endlessly debated question of whether the small screen has surpassed the big screen? It's now obsolete, says Matthew Wilder.

Shannon Plumb on red carpets, press embargoes, critical slapdowns, standing ovations and more, as her husband's new movie premieres on the Lido.