For so long, Hollywood has made it seem like only white, cisgender, non-disabled, heterosexual people fall in love. The films of Alice Wu offer condolence for those outside of that box. Essay by Tina Kakadelis.
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2022 Judd Apatow comedy ‘The Bubble’, released by Netflix and starring an ensemble of stars led by Karen Gillan, parodies the entertainment industry’s response to the pandemic. Nick Armstrong reviews.
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How Joachim Trier rewrites the rules of silver screen romance to create one of the best romantic dramas of recent years, ‘The Worst Person in the World’. Essay by Rehana Nurmahi.
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‘Liar Liar’, the 1997 comedy hit, celebrates 25 years since its release on the big screen in 2022, and it remains one of Jim Carrey’s great performances. Jamie Garwood reviews.
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10 years on from the release of David Wain’s cult comedy ‘Wanderlust’, starring Paul Rudd and Jennifer Aniston, its ‘Bizarro Cut’ remains transparent about the comedy process. Essay by Nicholas Armstrong.
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Wayne Campbell went from Saturday Night Live to the big screen 30 years ago, Mike Myers starring and co-writing ‘Wayne’s World’ (1992). Retrospective review by Jamie Garwood.
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Greta Gerwig’s ‘Little Women’ (2019) starring Saoirse Ronan, Emma Watson, Florence Pugh and more, is the ultimate Christmas film, even if it’s arguably not even a Christmas film at all. Rehana Nurmahi explains.
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If ‘The Wizard of Oz’ taught us that there’s no place like home, ‘Meet Me in St. Louis’ taught us that, actually, there’s no place like St. Louis. Essay by Margaret Roarty.
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The Film Magazine's founder and editor Joseph Wade has issued a