Oliver Stone Says Hollywood Movies Are ‘Jingoistic’ and ‘Pro-American,’ So He’s Stopped Trying to Make Them

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Gotham Awards Nominations Won’t Predict the Oscars (And They Shouldn’t) — IndieWire’s Movie Podcast

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‘They Shall Not Grow Old’ Review: Peter Jackson’s Colorized WWI Documentary Resurrects the Drama of the Battlefield

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Oscar Isaac Responds to ‘Life Itself’ Backlash: ‘It’s Some of the Better Work That I’ve Done’

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Jorge Garcia to Star in Spanish-Language Film ‘Killing Will Willys’ — Exclusive

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Timothée Chalamet Saves ‘Beautiful Boy,’ But What Will Happen to ‘First Man’? — IndieWire’s Movie Podcast

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Oscar Isaac Is Taking the Year Off After ‘Star Wars: Episode IX,’ So He’s Passing on Everything

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Errol Morris Is Still Pissed About the Backlash to His Steve Bannon Documentary

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James Baldwin’s Family Explains Why They Gave Barry Jenkins Permission to Adapt ‘If Beale Street Could Talk’

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‘Vice’ and ‘The Mule’ Suddenly Make December Movie Season Look Exciting — IndieWire’s Movie Podcast

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James Schamus Calls Netflix Algorithm a ‘Garbage In, Garbage Out Model’

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‘The Walking Dead’: Steven Yeun Won’t Return for Glenn’s Origin Story and Says the Show Gave Him an ‘Existential Crisis’

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‘BlacKkKlansman’ Producers Explain How ‘Get Out’ Allowed Them to Make Risky Movies With Studio Support

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‘Long Day’s Journey Into Night’ Director Had to Film His 59-Minute 3D Long Take Seven Times to Get It Just Right

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‘A Star Is Born’ Is a Crowdpleaser, But Does That Make It an Oscar Frontrunner? — IndieWire’s Movie Podcast

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IndieWire Hires Tambay Obenson and Christian Blauvelt

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‘Halloween’ and ‘Suspiria’ Aren’t the Only Genre Films Worth Celebrating This Season — Fantastic Fest Report

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‘Free Solo’ Subject Alex Honnold on Climbing El Capitan Without a Rope and Accepting That He Could Have Died on Camera

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‘The Oath’ Review: Tiffany Haddish and Ike Barinholtz Face a Divided America at the Dinner Table in Uneven Black Comedy

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‘Apostle’ Review: Netflix Thriller With Dan Stevens Is Ludicrous, Bloody Mayhem from ‘The Raid’ Director — Fantastic Fest

‘Overlord’ Review: J.J. Abrams’ Nazi Monster Movie Is Intense, Ravishing, and Surprisingly Deep — Fantastic Fest

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