Justin Chang is a film critic at The New Yorker. He specializes in the film industry, filmmaking, pop culture, and entertainment news, while also exploring themes of culture and society. Chang has been featured in various outlets, including NPR, The Los Angeles Times, and Slate Magazine, and is a 2024 Pulitzer Prize winner for criticism.
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Justin Chang’s focus on film reviews and entertainment news indicates a strong interest in coverage related to the movie industry, including individual films, actors, and directors. Pitches regarding new releases, interviews with filmmakers or actors, or stories about upcoming events in Los Angeles' vibrant entertainment scene may resonate with him.
Given his emphasis on local coverage of Los Angeles and California as well as international historical topics like WWII-era Amsterdam, pitching ideas that combine these elements could be especially effective. For example, stories about local film festivals featuring international cinema or profiles of Californian talent involved in historically themed productions might catch his attention.
With 73% of Justin's articles being reviews and an overall theme focused mainly on Entertainment News (52%), pitches for film critics’ perspectives or exclusive behind-the-scenes access to major movie productions would likely align well with his beat.
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His new alien thriller has shades of “Close Encounters of the Third Kind,” “Minority Report,” even “The Post”—but the retreads yield diminishing returns.
By: Justin Chang
Earlier this year, former President Obama made waves in an interview when he said that he believed aliens were real, though he hadn't seen any evidence of them during his time in office.
It’s been nearly four years since we’ve had a new Steven Spielberg picture—an unusually long, but understandable, wait. Spielberg, though as nimble an entertainer as we’ve got, will turn eighty this December, and the halcyon overachieving years of “Jurassic Park” and “Schindler’s List” (1993), “Minority Report” and “Catch Me If You Can” (2002), and “War of the Worlds” and “Munich” (2005) seem far behind him. His most recent feature, “The Fabelmans” (2022), was the kind of piercingly confessional work that might have put a lesser filmmaker out to pasture (not that a lesser filmmaker could have made “The Fabelmans”). After digging deep into his formative memories—chief among them his childhood surrender to the movies, which would define him, and which he would forever redefine—where, exactly, could Spielberg go next?
By: Justin Chang
A lot has happened since the first Toy Story in 1995, when a cowboy-sheriff doll named Woody, voiced by Tom Hanks , worried that a space-ranger
By: Justin Chang
When her parents buy her a frog-themed tablet named Lilypad, Bonnie is immediately hooked.
In the latest chapter of “Toy Story,” Jessie, Woody, and Buzz Lightyear confront a looming threat—screen time—that’s changing the play habits of children everywhere.
In Olivia Wilde’s bickersome couples comedy, an evening of refreshments and recriminations leads to an intriguing proposition.
In the annals of movies about bickersome couples spending an ill-advised evening together, Olivia Wilde's The Invite falls somewhere between two poles.
DAVE DAVIES, HOST: This is FRESH AIR. In the new comedy "The Invite," Seth Rogen and Olivia Wilde play a San Francisco couple who spend an
In rich, melancholy new films from the directors Carla Simón and Mark Jenkin, the restorative power of cinema turns out to be a shore thing.
