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Richard Lawson

Richard Lawson is a critic and culture writer living in Brooklyn. He was the chief critic at Vanity Fair from 2013-2025. A member of the New York Film Critics Circle and the National Society of Film Critics, Richard has also written for The Guardian, Indiewire, The Atlantic and Gawker. His novel, All We Can Do Is Wait, is available through Penguin Random House.

More from Richard Lawson

‘Verity’ Review: Anne Hathaway, Dakota Johnson and Josh Hartnett Try and Fail to Slink Their Way Through a Dumb Mystery

The fourth adaptation of best-selling novelist Colleen Hoover’s work reunites Hathaway with her 'The Idea of You' director Michael Showalter.

‘Unabomber’ Review: Jacob Tremblay and Russell Crowe in a Facile Rendering of Ted Kaczynski’s College Days

Director Janus Metz's thriller, also starring Shailene Woodley, attempts to plumb the depths of a pivotal moment in the infamous murderer’s life — his time as a Harvard student.

‘Lemonade’ Review: Newcomer Lewis Brophy and Barry Keoghan Lead a Paint-by-Numbers Irish Drama About a Teen Caught in the System

Kim Bartley's TIFF-bowing film revolves around an Irish teenager navigating a multitude of problems all at once.

‘Stuffed’ Review: Jodie Comer Rises Above a Limp, Gross-Out Corpse-Themed Musical

Harry Melling joins the 'Killing Eve' star in a TIFF-bowing body-horror romance about lonely hearts making a strange connection.

‘The Color of the Sun’ Review: A Teenager in Okinawa Navigates Grief and Longing in an Attractive but Undercooked Coming-of-Age Drama

First-time feature filmmaker Xavier Tera's tale of adolescent exploration premiered in the Horizons sidebar of the Venice Film Festival.

‘Company’ Review: Casey Affleck Directs a Surprising, Decade-Hopping but Dull Existential Drama

Scoot McNairy, Adelaide Clemens, Nick Nolte, Ben Mendelsohn and Affleck’s son Atticus star in the Venice competition entry, a triptych of interconnected stories fueled by a mystery.

‘Woman Unknown’ Review: A Sharp, Haunting Portrait of Denmark’s Post-War Reckoning

This Venice competition entry from director May el-Toukhy ('Queen of Hearts') revolves around a maid whose past threatens to unravel her future in the wake of World War II.

‘Oasis: Don’t Look Back in Anger’ Review: A Rich and Poignant Celebration of a Beloved Band’s Glorious and Improbable Return

The brothers Noel and Liam Gallagher bring us along on their 2025 reunion tour in this concert documentary premiering in Venice before its debut on Disney+.

‘The Basics of Philosophy’ Review: Paul Schrader Does Some Deep — and Discomfiting — Thinking About a College Professor’s Guilt

Jack Huston, Sofia Boutella and Daniel Zavatto star in the octogenarian’s new feature, a morally complex study of past sin affecting present life.

‘Everest: The Other Side’ Review: A Frustrating, Guiltily Compelling Portrait of the Triumph and Tragedy of Extreme Mountaineering

‘Free Solo’ Oscar winners Jimmy Chin and Elizabeth Chai Vasarhelyi again hit the slopes for a National Geographic doc about people risking it all to climb to the top of the world — and then ski back down.

The 20 Best Films of Cannes 2026

A gripping melodrama from James Gray, flashy vehicles for Rami Malek and Sandra Hüller, a stunning French coming-of-age saga, a bonkers Korean monster flick and the portrait of a reformed gay party boy were among THR critics’ faves from the fest.

‘The Black Ball’ Review: Vivid, Sweeping Epic About Gay Men in War-Torn Spain Is a Major Cannes Standout

‘Veneno’ creators Javier Ambrossi and Javier Calvo direct this stunning drama about lovers and friends caught in the tempest of history, featuring Penelope Cruz and Glenn Close in supporting roles.