The first episode of What We Do In The Shadows is a macabre romp that remarkably adds and expounds upon the comedic elements of its filmic progenitor.
We take a look back at motion capture technology, including its beginnings, its present uses, and the recent rises in de-aging technology.
In a search to find the best The Simpsons episode, we review Season 7, episode 2 called “Radioactive Man.”
In the age of toxic masculinity at its most unbearably malignant, Fight Club is still an effective parody of the spread of hate between generations.
In his latest dispatch from SXSW, Kevin Lee reviews Apollo 11, from director Todd Douglas Miller, and Aquarela, by Victor Kossakovsky.
From theme to visuals, Riverdale’s “Big Fun” brought every bit of energy and intensity right up to the final curtain call.
Dumbo is exhausted and erroneous, less concerned with a magical setting and more concerned with a macabre art-deco style.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
In Ari Aster’s follow-up to Hereditary, Midsommar, a young woman reluctantly joins her boyfriend on a summer trip where things quickly go awry.
Too weird for 1950’s Hollywood, director, writer and actor Ed Wood used the medium of film to tell the kind of stories he wanted to tell.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
Film Inquiry spoke to director Carol Morley about Out of Blue, why she chose to adapt a Martin Amis novel, and why Patricia Clarkson is a gay icon.
The Professor and the Madman tells the story of the creation of the Oxford English dictionary, which was put together by a professor and a convicted killer.
In Black Mirror’s “Crocodile”, people have the technology of recreating visuals from memories. Is this tech becoming reality?