Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
Thor: Ragnarok wants you to know that Thor is funny. It may not be most appropriate time to emphasize this given that Cate Blanchett’s Hela is out to destroy Asgard.
Filmmaker and actor Brendan Bradley discusses the increasing role that social media is having on creativity and the power of filmmaking.
With The Devil’s Candy, provocative Australian director Sean Byrne proves he is one of the best genre filmmakers working today.
Kathryn Bigelow and Mark Boal found success before with Zero Dark Thirty, and given the timely history lesson they’re presenting, Detroit will likely garner even more praise for the team.
With the rise of streaming services like Netflix getting in to the movie business, will cinemas be able to survive the competition?
Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.
Since its creation, the Jacob Burns Film Center has curated timely, poignant series aimed to enlighten and uplift its audiences. The theater, located in Westchester County, NY, is always one step ahead of the curve. Coming up this month is another exciting exhibit, entitled Greenhouse.
The stale found footage genre is revitalised with ambitious anthology film The Dark Tapes, a stunning directorial debut from Michael McQuown.
This week Jay and Mike talk about eastern cinema, recap the Legion finale, and discuss the newly released Ghost in the Shell.
With the first teaser for Star Wars: The Last Jedi, we’re just getting a quick reminder of what fans already love about Star Wars.
Arlin Golden attended the San Francisco International Film Festival and discusses the documentaries he’s seen, Nobody Speak, The Force and more.
Sometimes, Forever is a stylish, incisive look at teenage sexuality, and though it’s set in the ’90s, it does much to speak to our own time.
We got a glimpse of three beautifully inventive and genuinely moving short films made by the 18 teenagers in the BFI Film Academy programme.