HeyJaredRichard Lawson
- Indexed articles, last 90 days
- 10
- Latest publication
- Sep 30, 2026
- Outlet visibility, for The Hollywood Reporter
- Top 10K sites
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- Sep 3, 2026
Latest articles
‘Verity’ Review: Anne Hathaway, Dakota Johnson and Josh Hartnett Try and Fail to Slink Their Way Through a Dumb Mystery (opens the original)
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It’s been said that writing about music is like dancing about architecture. But what about writing about writing? That often seems even more impossible, and fruitless, than doing a tango to explain, say, the Guggenheim in Bilbao. Look to the most recent example, the new film Verity, in which Anne Hathaway plays a writer who is said to go to such dark places in her popular novels that one must assume she herself is some sort of wicked entity. Only, every time we see or hear that writing in the fi
‘Unabomber’ Review: Jacob Tremblay and Russell Crowe in a Facile Rendering of Ted Kaczynski’s College Days (opens the original)
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While Netflix has Ryan Murphy busy investigating (or flat-out making up) the motives of killers like Jeffery Dahmer, the Menendez Brothers and Lizzie Borden, the streamer has enlisted director Janus Metz to tell the story of Ted Kaczynski, the math prodigy turned reclusive murderer known as the Unabomber — also the movie’s title. But Unabomber, written by Sam Chalsen and Nelson Greaves, is not some sweeping birth-to-death survey of Kaczynski’s life. It instead focuses on a young Kaczynski’s time
‘Lemonade’ Review: Newcomer Lewis Brophy and Barry Keoghan Lead a Paint-by-Numbers Irish Drama About a Teen Caught in the System (opens the original)
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How much do good intentions count? If a film — like say, documentarian Kim Bartley’s debut narrative feature, Lemonade — has its heart and its sociopolitical care in the right place, can audiences overlook or excuse its glaring clichés, its generic plotting? Such a question faces us upon watching Lemonade, about an Irish teenager from a rough background who is struggling to handle a variety of adult concerns as they all come rushing at him (quite conveniently, for the movie’s purposes) at the sa
‘Stuffed’ Review: Jodie Comer Rises Above a Limp, Gross-Out Corpse-Themed Musical (opens the original)
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Of the sadly many dwindling artforms whose slow (or rapid) declines we’ve been mourning over the years, the original musical is high on my list of sorrows. Broadway struggles to launch successful new works — meaning, ones not based on a movie we’re nostalgic for, or built around the jukebox catalog of a beloved artist — and they’re practically non-existent on film, save for some arthouse stuff like Leos Carax’s Annette or Joshua Oppenheimer’s The End. We’re starved for new stories set to new son
‘The Color of the Sun’ Review: A Teenager in Okinawa Navigates Grief and Longing in an Attractive but Undercooked Coming-of-Age Drama (opens the original)
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Though the genre did of course exist before 2017, it feels as though Call Me By Your Name kicked off a boom in the dreamy, summertime coming-of-age movie, of the artier and indie-r variety. If you’ve traveled the festival circuit in the last decade or so, you’ve seen myriad examples of the form: teenagers in sun-kissed locales making first discoveries about themselves, about sexuality, about the grownup world rushing at them. Some have been quite good — the recent Cannes standout La Gradiva come
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