Coupled with skill in front and behind the camera, It is not gore or a body count but pure tension that pulsates through Dead Sound, pushing it forward.
Downhill skews and scraps the richness of its predecessor and replaces it with dragging drama and cringy comedy.
In Hope Gap, a couple’s visit with their son takes a dramatic turn when the father tells him he plans on leaving his mother.
Wilson Kwong ends his coverage of Sundance with reviews of Brandon Cronenberg’s Possessor and a documentary detailing the life of a Hong Kong legend (Bruce Lee, in Bao Nguyen’s Be Water).
In spite of some of its trip-ups, it’s hard to find something so genuine in its portrayal of the prevalent anger and worry of these times.
We take a look at the recent home video releases of Viy (1967), Let’s Scare Jessica to Death (1971), The Emperor’s Naked Army Marches On (1987) and Very Bad Things (1998).
Pivoting from steely resolve to emotional profundity, the brilliant evolution in its final moments cements The Whistlers as an unconventionally thoughtful experience.
This adaptation of The Call of the Wild doesn’t quite have the same impact as Jack London’s bold portrayal of nature versus man. But it’s hard to decry it all the same.
It has been all too easy for many to forget about what happened and is still happening in Flint. That alone should make this documentary essential viewing.
In its second episode, Zoey’s Extraordinary Playlist shows no signs of slowing down and continues to not only entertain, but firmly pull at the heartstrings as well.
Come to Daddy oozes Timpson’s remarkable devotion to the emotional, surreal and vicious with grotesque gusto.
This episode of Homeland leaves us wondering if perhaps, the show may finally be coming to understand the responsibility in commenting on volatile real-world situations.
The Professor and the Madman limps out as a woefully half-baked and overcooked spectacle that mistakes reality for relevance.
The French Dispatch is a love letter to journalists set in an outpost of an American newspaper in a fictional 20th-century French city.
We were able to talk with Veronica Chen at Sundance Film Festival, director of the thriller High Tide.