Stephanie Zacharek is a Film Critic at TIME. She specializes in arts and entertainment, with a focus on film and cinema, and often covers topics such as movie reviews and the impact of cinema on contemporary issues. Stephanie has been featured in various outlets including Yahoo News, AOL, and NewsBreak.
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Stephanie Zacharek predominantly covers the entertainment industry with a focus on movie reviews and profile features. She would likely be interested in pitches related to new film releases, interviews with actors or directors, and analysis of current trends within the industry.
Given her strong emphasis on review articles, she may also appreciate pitches that provide early access to upcoming movies for review purposes or offer exclusive insights into highly anticipated films.
While there is a specific mention of Leonardo DiCaprio in some article titles, it's important to note that this doesn't necessarily indicate a primary interest in him as a topic. Instead, Stephanie's coverage suggests an overall affinity for movies across various genres.
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T he pleasures of Ridley Scott's Gladiator II are numerous: There's Paul Mescal as scrappy gladiator Lucius, bent on kicking as much Roman ass as possible.
Danielle Deadwyler makes every scene electric in Malcolm Washington's feature debut, The Piano Lesson
By: Stephanie Zacharek
The line between a cliché and a cherished convention is often so slim it’s almost undetectable
VERY RARELY DOES THE RIGHT MOVIE ARRIVE AT precisely the right time, at a moment when compassion is in short supply and the collective human imagination has come to feel shrunken and desiccated.
T his has been a difficult year. You may have been buffeted by anger you didn't want to feel, and didn't know how to productively process.
Mike Leigh's drama, starring Marianne Jean-Baptiste as a woman at war with the world, draws out compassion you might not have even known was there.
W e watch movies for so many reasons: the spectacle of great cinematography, the experience of connecting with a director's ideas, the sheer pleasure of watching a story unfold before us.
RaMell Ross' radical approach to this Colson Whitehead adaptation doesn't always work, but one central performance keeps it grounded.
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