Robert Redford's Essential Films

I teamed up with other Rolling Stone colleagues to list 20 must-see Robert Redford movies. You can read me on The Natural, Indecent Proposal and All Is Lost here. 

The Grierson & Leitch Podcast: Our Most-Anticipated 2025 Films and Our Oscar Nomination Predictions

A big first episode to start the new year. We spent two hours previewing the films we're excited to see in 2025, and then we offered our guesses for what's going to be nominated in the six major Oscar categories. Dive in.

2024 Gotham Awards Nominees

It has been an annual tradition I am very proud to be a part of. The folks at the Gotham Film & Media Institute invited me to once again join the committee that selects the nominees for the Gothams' acting categories. Alongside Monica Castillo, Robert Daniels, Tomris Laffly and Brian Tallerico, I helped pick this year's best Lead, Supporting and Breakthrough performances. You can see our choices here, along with the nominees in other categories.

The Grierson & Leitch Podcast: 'The Substance,' 'His Three Daughters' and a Sundance Gem

It feels like serious-movie season is finally upon us. On the podcast, we review three awards-buzz films: one that premiered at Cannes (The Substance), one that premiered in Toronto (His Three Daughters), and one that premiered at Sundance (In the Summers). Check out our thoughts down below.

Cannes 2024: The Wrap-Up and the Rankings

The 2024 Cannes Film Festival is when I finally decided it's not worth debating whether a particular edition was "good" or "bad." Truth is, every Cannes is filled with triumphs, misfires, disappointments, underappreciated gems, surprises, and movies you liked a lot more (or a lot less) than your colleagues did. And because the festival doesn't necessarily front-load its strongest offerings, you really have no idea where the annual ebbs and flows will land. You have to take Cannes in its entirety, judging it not by one day but by the whole two-week experience. There's no festival like it because it's longer and, therefore, harder to process as it's happening. Only distance will tell you for sure -- and even then, you may be shocked to catch up with a few films you missed (or revisit ones you saw) and discover what a great year it had actually been. There's no such thing as a "bad" Cannes, just degrees of good.

That said, do I think I found a film this year that could match 2023's twin stunners in The Zone of Interest and Inside the Yellow Cocoon Shell? No, but looking over my rankings, I'm pleased by how many strong films I saw, with the possibility of more bangers to come. (I wish I'd had time for The Balconettes, The Kingdom, Armand, Black Dog, Flow, Santosh, Viet and Nam and others. And I wish my screening of Universal Language had had English subtitles like it claimed it would.) 

Here's a list of everything I saw at Cannes, from worst to best, with links leading to individual reviews. And please note that I'm not including the first half of the restoration of Abel Nance's extraordinary Napoleon, which I saw and was completely blown away by.

34. Megalopolis
33. The Surfer
32. The Second Act
31. The Apprentice
30. Oh, Canada
29. Beating Hearts
28. Emilia Perez
27. Wild Diamond
26. Rumours
25. The Shrouds
24. Visiting Hours
23. Misericordia
22. Being Maria
21. I, the Executioner
20. Motel Destino
19. The Substance
18. It's Not Me
17. Christmas Eve in Miller's Point
16. Elementary
15. The Girl With the Needle
14. Bird
13. Three Kilometers to the End of the World
12. Blue Sun Palace
11. On Becoming a Guinea Fowl
10. Eephus
9. Good One
8. The Invasion
7. All We Imagine as Light
6. Anora
5. Grand Tour
4. Caught by the Tides
3. Kinds of Kindness
2. The Seed of the Sacred Fig
1. September Says

A few words about my No. 1 film. I went into Ariane Labed's directorial debut basically blind. (I knew the plot description, plus who had worked on the movie.) And from the first moment, I was enraptured, its spell never breaking. September Says (pictured above) was part of Un Certain Regard, but it crushed me more completely than anything in the Competition, although Mohammad Rasoulof's The Seed of the Sacred Fig got awfully close. When I review movies at a festival, I go home straight from the screening and write -- I don't talk to anyone or check online reactions. So I'm basically in a bubble, unaware of how others feel, and what I quickly discovered was that I was higher on September Says than, basically, anyone else. (As one colleague, who hadn't seen it, put it derisively, "It sounds like a Toronto film.") Maybe a second viewing will diminish the film in my estimation -- maybe revisits of The Seed of the Sacred Fig or Caught by the Tides or Anora or All We Imagine as Light will vault them up the rankings. But for now, this tale of two peculiar sisters -- too delicate and strange for this world -- earns the top spot.

Because I am historically awful at predicting the Palme d'Or winner, my guess is worth nothing. Nonetheless, I'm with the consensus that it's going to be either All We Imagine as Light or The Seed of the Sacred Fig. It's impossible to know what a Cannes jury will go for, but my gut tells me that All We Imagine as Light's gentle beauty will win out over The Seed of the Sacred Fig's darker, more challenging tone -- although filmmaker Mohammad Rasoulof's emotional appearance at the latter's premiere may be too much for the jury to resist. Could Anora pull off the upset? Emilia Perez? Absolutely. But I'm going with All We Imagine as Light, which premiered late this year and has all the momentum going into the weekend. Not that you should bet your mortgage on my hunch.  

'Press Play With Madeleine Brand': The Highs and Lows of the 2024 Cannes Film Festival

I was so pleased to be on with Madeleine talking about four of the buzziest films at this year's Cannes. You can check out my segment down below.

Cannes 2024: 'The Substance' Review

In The Substance, Demi Moore plays an aging star who needs a career boost. Enter a strange service promising to offer clients a better version of themselves. What could go wrong? I reviewed this gory body-horror for Screen International.

Revisiting 'G.I. Jane'

For reasons that should be obvious, I watched G.I. Jane this morning. It inspired a lot of thoughts.

The Grierson & Leitch Podcast: Boys State, Power Pills and 'The Scarlet Letter'

Two new movies on this week's episode: One is good (Boys State), one is not (Project Power). Then, in our Reboot segment, we look back at 1995's mega-bomb The Scarlet Letter. (Our Reboot requester's note to us made it all worthwhile.) Hear the whole thing down below.