Justin Chang
Justin Chang is a film critic for the Los Angeles Times and NPR's Fresh Air, and a regular contributor to KPCC's FilmWeek. He previously served as chief film critic and editor of film reviews for Variety.
Chang is the author of FilmCraft: Editing, a book of interviews with seventeen top film editors. He serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Association.
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What to watch next while sheltering in place? Critic Justin Chang recommends Sorry We Missed You, Green for Danger and My Neighbor Totoro.
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In Eliza Hittman's pointed new movie, a teenager from small-town Pennsylvania doesn't want to tell her parents she's pregnant; instead, she travels to New York City with her cousin for an abortion.
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This captivating underdog film centers on two strangers who meet in the Oregon Territory circa 1820 and start their own baking business — which requires stealing milk from the territory's first cow.
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Director Benh Zeitlin conjures up some practical magic in a loose retelling of J. M. Barrie's classic story. But ultimately, Wendy's clever twists aren't enough to keep your attention from wandering.
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Autumn de Wilde's adaptation of the Jane Austen classic is as clever and rich as its famous heroine — in part, because its actors are so good at finding fresh nuances in this timeless material.
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In Tbilisi, Georgia, two male dancers in the national dance ensemble embark on a secret love affair. It's a fairly straightforward drama of first love — enhanced by the vitality of the setting.
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Set in Leningrad shortly after World War II, Beanpole centers on two women who find themselves deeply scarred by their wartime experiences with the Red Army.
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A young woman grows increasingly uncomfortable working for a movie mogul reminiscent of Harvey Weinstein. The drama explores how easy it is for powerful people to exploit absolute authority.
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Sam Mendes filmed his suspenseful beat-the-clock thriller in what appears to be one continuous take. It's an impressive feat — but it makes the WWI movie feel like an overly polished one-shot wonder.
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Gerwig gives us the warm, homespun pleasures of Louisa May Alcott's beloved novel, but she also holds the well-worn text up to the light to consider some of its flaws and compromises.