The view on the 1990s Star Wars prequels is synonymous with hubris, failure, and shoddy filmmaking, that is until Disney came into the picture and changed the image completely with its latest additions to the franchise Rogue One and Solo.
With her delicate approach, inspired Western-influenced imagery, and hard-hitting subversive themes, The Rider is a clear indication of Chloe Zao’s talents as a director.
Dominic Brunt’s horror comedy Attack of the Adult Babies is equally versed in British toilet humour and the classics of the horror genre.
The problem with praising China Salesman is you won’t be taken seriously. But view as the Schlock it unashamedly is, and you’ll be entertained
Audrey (Mila Kunis) and Morgan (Kate McKinnon) are best friends who unwittingly become entangled in an international conspiracy when one of the women discovers the boyfriend who dumped her was actually a spy.
In Shock And Awe, a group of journalists covering George Bush’s planned invasion of Iraq in 2003 is skeptical of the president’s claim that Saddam Hussein has “weapons of mass destruction.”
Sometimes a film’s low budget can get in the way of its narrative, cohesiveness, and overall watchability. However, viewers won’t be disappointed with Counterfeiters and its quality.
In this Beginner’s Guide, we look back on the Marvel Cinematic Universe (MCU) so far and pick out the most important films to watch from the collection.
In Films of The New French Extremity, Alexandra West studies French horror films which are known for graphically brutal depictions of sex and violence.
Stephanie Archer reviews Creative Block, a short film that views the blocks of the mind, and shares her interview with director Nicola Rose.
American Animals’ artistic merits are not enough to make the men at the center of the story worth caring about for its duration.
Inka Achté’s documentary BOYS WHO LIKE GIRLS chronicles the efforts of an organization in India to educate boys and men on pressing gender-based issues.
It’s rare that composers adapt themes and pieces, but Michael Giacchino’s bold steps to make everything he composes personal makes him stand out as one of contemporary cinema’s leading composers.
It isn’t the glossiest documentary, and there isn’t a significant style or a comfortable flow, but what Evil Genius lacks in pizzazz in makes up for in persistence and unearthing.
Italian-American filmmaker Jonas Carpignano has shown in only his second feature, A Ciambra, to be one of the most empathetic social realist filmmakers working today.
