Using acute, penetrating realism, a career-best performance from Wyle, powerful secondary performances from the actors, air-tight writing incorporating pressing themes, and an unpredictable ending, Shot overwhelmingly succeeds as both a film and a statement about our culture.
Diablo Cody’s directorial debut was made back in 2013, yet got buried so deep it’s easy to not know it even existed. After watching Paradise, it became clear why it never got a proper release five years ago.
Ana Asensio’s directorial debut, Most Beautiful Island, is an intimate view of the immigrant experience not as social realist drama or romantic comedy, but as a horror story.
The American justice system has been under heavy scrutiny lately, and another low point is being brought up in Bomb City.
With unflinching backlash and polarizing reviews between fans and critics, Star Wars: The Last Jedi has found little favor among the masses – but was this the fault of the storyteller or the company behind the film who always plays it safe.
Our podcast host Jay Ledbetter is joined by Alistair Ryder and Emily Wheeler to wrap up 2017 and discuss their top 10 fave films of the year.
The Babysitter is perfectly trashy popcorn entertainment, with a distinctive, highly-stylized vision and self-satirizing bite; a lesson in embracing genre conventions rather than falling victim to them.
Political scandals are as old as government itself, but few revolve around an event as senselessly tragic as the one dramatized in Chappaquiddick.
In our latest entry of Anarchic Cinema, we discuss Nick Zedd’s 1979 undiluted cinematic punk rock film They Eat Scum.
Prince of Nothingwood documents Salim Shaheen, a passionate Afghan director who makes dozens of low-budget films in his troubled home country, becoming idolized by many as a result.
Only two weeks into 2018, Swinging Safari is Australia’s worst film of the year thus far with its muddled need to elevate the material.
Though only really breaking out as a star with 2013’s Inside Llewyn Davis, Oscar Isaac has quickly made a name for himself, starring in prominent sci-fi franchises, award-worthy dramas, and lesser-known indies.
Laying blame is a difficult one because nothing is particularly awful in American Made: even the screenplay peppers a handful of decent set pieces and sequences throughout – but there’s nobody on-hand to elevate the picture.
Paddington 2 is the rare sequel that is better than the original, filled with a good natured warmth that will delight children and parents alike.
Salamis Aysegul Sentug examines a trilogy of movies that not only embrace the art of night but also celebrate it as a field of creative space where artists and writers venture out.
