Richard Lawson

2 days ago | vanityfair.com | Richard Lawson

In the last season of The Bear, brilliant but troubled Chicago chef Carmy (Jeremy Allen White) was stressing about the opening of his new fine-dining restaurant, dealing with past family trauma, and struggling to embrace a romantic relationship due to his hangups about intimacy and vulnerability. Carmy’s creative partner/confidant/friend Syd (Ayo Edebiri) was debating whether to leave the Bear and strike out on her own.

3 days ago | vanityfair.com | Richard Lawson

Twenty years ago this fall, I was a post-grad starting to figure out what shape my adult life might take. The plan was to somehow make a career in theater; to that end, I worked at the box office in a now long-defunct little playhouse in downtown Boston. Dedicated as I was to that medium, I still paid plenty close attention to movies, perhaps especially because I no longer had play rehearsals—where I spent pretty much all of my college years—taking up my free time.

1 week ago | vanityfair.com | Richard Lawson

In the years following 2002’s indie horror hit 28 Days Later, the bold Scottish director Danny Boyle shifted into something like the mainstream, winning an Oscar for 2008’s feel-good modern epic Slumdog Millionaire and making films about Steve Jobs and (sort of) the Beatles. It’s a pleasure, then, to see him back in the grittier climes of a zombie apocalypse in his new film, 28 Years Later (in theaters June 20).

1 week ago | flipboard.com | Richard Lawson

Danny Boyle Just Revealed What '28 Days Later' Means, and It Changed My Entire Perception of the MovieWith Danny Boyle's highly anticipated 28 Years Later on the horizon, movie fans have been revisiting where it all started. For over two decades, his …

1 week ago | vanityfair.com | Richard Lawson

Life is so endlessly varied that a film studio could spend an eternity trying to encompass it all. But I do wonder if Pixar—long the standard bearer of American animation—may be reaching the bottom of its thematic barrel. The studio’s latest film, Elio (June 20), has all the lush and lively imagery one expects from the company. But the film’s effort to do the other Pixar trick—delivering a wistful, homespun treatise on some universal emotional matter—runs aground on all-too-familiar shores.