2017
If you’re looking to be scared, then The Ritual may satisfy that itch. Just know that you’ll probably have seen it already, in one horror film or another.
The Disaster Artist is a troubling film given the recent allegations against James Franco, especially when we look at one scene in particular when Franco’s Tommy Wiseau abuses his power as a director.
Double Lover is a loving and surprisingly artful homage to the genre’s masters, equal parts a silly and stylish trashy erotic thriller with enough twists and turns to delight any mainstream audiences.
A frenetic, fantastical but frustrating piece of work, Jupiter’s Moon will be remembered not for its rather woolly handling of serious subject matter, but for a couple of excellent performances, and the stunning images and sequences.
We look back at the wonder women of 2017, the women directors and writers who pushed through barriers in the industry, advancing gender equality and making history.
Like the old maxim about waiting all day for a bus only for two to…
Small Town Crime delivers the goods with a layered story, enthralling mystery, classic and evocative but innovative action, and a cast and crew devoted to a singular artistic vision.
Saturday Church is a story of hope and redemption and yet another “need to see” tale, of a group of people deemed “different” by society, that ends up proving how alike we all actually are.
Abe & Phil’s Last Poker Game boasts a trio of fantastic performances, particularly from Landau in one of his finest turns in his final film, and contains just enough laughs and dramatic themes to overcome Weiner’s rookie missteps.
From the riotous to the poignant, Sally Potter’s The Party taps into the state-of-the-nation with a smart, sharp comedy populated with hilarious characters and brought to life by a truly fantastic cast.
Director Rebekah Fortune’s Just Charlie is an empathetic transgender coming out tale that slowly becomes a moving story of self-acceptance.
There are seven remarkable films at the heart of Femme Frontera, a short film showcase…
Director Hong Sang-Soo’s latest effort, On The Beach At Night Alone, is one of his most deeply autobiographical (and best!) to date, but it isn’t particularly accessible for newcomers to his filmography.
The Film Inquiry team counts down their top ten films of 2017, with each writer compiling their own list and describing in further detail their number 1 pick.
A provoking film that resonates long after the credits have roles, The Strange Ones is an understated debut, with just enough external beauty and internal unease to keep us hopeful for their cinematic future.
