Lost Bayou captures the personality and unique features of the bayou through its engaging story, well-developed characters, and beautiful visuals.
A Cinderella Story: Christmas Wish follows the classic Cinderella motif with a few changes, some of which work, while others feel too close to countless other adaptations of the fairy tale.
Forgettable and quite boring, The Addams Family is perfectly passable as a children’s film, but not a genre classic.
In Light from Light, a single mom and part-time paranormal investigator is asked to look into a possible “haunting” at a widower’s farmhouse in Tennessee.
We spoke with director Jason DeVan and his wife, producer and actress Heather DeVan, about their horror sequel Along Came The Devil II.
Shawn Glinis takes a look at the recent home video releases of Pledge Night (1990), The Set-Up (1949) and 3 silent classics by Josef von Sternberg
Not all conversations are deep, some of them are about trivial everyday things. But in Grass, every conversation is an intricate miniature story.
We spoke with Alejandro Landes, director of the critically successful Monos – he highlights the importance behind the story he tells and speaks about his filmmaking decisions.
We spoke with Alexandra Nell, star of Rattlesnake, after its premiere at Austin Film Festival and release on Netflix, about the film and what’s up next for her.
The NFFTY is scheduled to end on October 27, 2019, with these last seven short features: Virgencita, Green, Men Helping Women, Winner of Peace, Charley Horse, The Best is Yet to Come and Lavender.
Ahead of its presentation at the Downtown LA Film Festival, we spoke to Zenon Samuels about his short film Survive.
An insufferable venture that completely misses the mark, despite the strong material, Vita & Virginia is nothing short of a disaster.
It’s possible that the great Pauline Kael might have liked Joker – Chris Cassingham compares it to another controversially violent film, Bonnie & Clyde.
In his third report from the second annual Film Fest 919, Josh Martin reviews Clemency, The Aeronauts and The Two Popes.
Color Out of Space heralds Richard Stanley’s return, a man given short shrift and who has a great eye for throwback horror and truly creepy cinema.