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 arresting visuals at their most peculiar would be the biggest reason to recommend Sheikh Jackson, but it’s worth watching as a good coming-of-age story with a nuanced depiction of faith and a strong character arc at the centre.
For a studio whose storytelling style and command of visuals is so wonderfully inventive, in Early Man they’ve opted for the laziest, most obvious narrative trajectory imaginable, without even a winning sense of humour to back that up.
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.
In Braven, a logger (Jason Momoa) is forced to protect his family from a gang trying to recover the drug money they’ve hidden on his property.
Devil’s Gate frustratingly flirts with greatness- however, director Clay Staub’s genre mash-up is too uneven to sustain the entirety of its running time.
Acclaimed filmmaker Paul Thomas Anderson presented his latest film, Phantom Thread; he discussed aesthetic influences, real-world and filmmaker inspirations behind the making of Phantom Thread. This is a transcript and video of the event.
Proud Mary would be nothing special if it did not star Taraji P. Henson. But it does, and as a result it stands out like a beam of sunshine piercing the dull grey murk that is January at the movies.
In this series, we will be examining various films in the seminal genre of time travel. To start, we look at George Pal’s The Time Machine, the most famous adaptation of H.G. Wells’ novel.
Extensive research has been undertaken to produce this documentary, The Politics of Hate, on the re-emergence of the far right. Unfortunately, nothing within feels revelatory if you’ve seen the news in the last two years.
With average performances, a weak script, and a lack of sentiment regarding the treatment of Native Americans, Hostiles isn’t going to make audiences want westerns to come back anytime soon.
The personal and the political blend in Beirut, the latest thriller from director Brad Anderson. Setting the film in Beirut means they’ve got a long history of upheaval to pull from, but it also comes with it’s share of controversies.