For Dinner With Dames #18, Cinefemme gathered a group of women filmmakers to dine with the night’s mentors, Erica Lee & Esther Hornstein, president and creative executive at Thunder Road.
Owing mostly to the funny duo of Mark Wahlberg and Rose Byrne, Instant Family somewhat succeeds, though its switch to full-out drama by the end is jarring, to say the least.
Newly reissued via Kino Lorber, screwball comedy Nothing Sacred and delicate domestic drama Made for Each Other show two sides of Carole Lombard.
Robin Hood seems to have a set of requirements to meet, and it gives the bare minimum when meeting them.
The Truth About Killer Robots is an essential part of the ever-evolving debate as to where our civilization currently is, and where it may ultimately be heading.
It is a shame when a movie like Hell Fest this is let down by the very reason for its existence – a slasher movie is only as strong as its slasher and the fear that slasher creates.
This month’s Staff Inquiry is all about our most beloved examples of film noir, picking from the classic era of the ’40s and ’50s.
The Ballad of Buster Scruggs is some of the Coens’ best work: the storytelling is so delicate and precise, like a beautiful poem squeezed of every superfluous word.
Hanna Fidell and co-writer Carson Mell accomplished a feat rarely seen with The Long Dumb Road, a believable wacky comedy.
The Grief of Others examines how time can only heal wounds if we let it through intentionality and a sense of vulnerability that can be simultaneously scary and painful.
DriverX is a memorable character study, managing to capture the beauty of a city at night, while exploring generational differences and self-discovery.
As Gryphons and Gargoyles sinks its teeth into its willing players, so too does it to the unwilling town of Riverdale – proving itself a game beyond pieces and dice.
In the live-action version of Disney’s classic Dumbo, a young elephant, whose oversized ears enable him to fly, helps save a struggling circus.
In this Beginner’s Guide we dive into the works of South Korean director Park Chan-wook, who is best known for his excessive and notorious use of extreme violence.
A Bread Factory may be dispiriting, but it’s a vital reminder to preserve community spaces, and form connections with those who appreciate the arts.
