Film Inquiry’s final dispatch from LFF is here, with reviews including Pablo Larrain’s Ema and Billie Piper’s Rare Beasts.
Hitsville: The Making of Motown is a loving and lively reflection on Berry Gordy’s pop music factory, one of the greatest of the 20th century.
Stories, no matter the medium, have always been full of heroes, so we’re taking a minute to highlight some of our favorites from film and television.
Though More Beautiful For Having Been Broken suffers due to its execution of these significant ideas, it has heart and potential behind it.
Back Soon is certainly an enjoyable bad movie, but for any bold statements on sexual fluidity you’re better off watching something else.
Stylish, savage and supremely funny, First Love is the shock of adrenaline the action genre needs and deserves.
In his first report from the San Diego International Film Festival, Tynan Yanaga covers The Irishman, Doing Money and Inside The Rain.
We were able to interview Damson Idris, star of the upcoming film Farming.
A young woman living in Tokyo becomes the prime suspect in a horrific murder when her friend goes missing in the wake of a tumultuous love triangle.
Maleficent: Mistress of Magic is a movie that feels at war with itself, but when the right side breaks through, it can be something beautiful, like the film that came before.
By relying on the best possible ambassadors to convey its message, In Search of Greatness provides an intriguing and inspiring look at sporting excellence.
Shawn Glinis takes a look at the recent home video releases of Luc Besson’s Anna, John Carpenter’s Vampires (1998) and Roger Corman’s A Bucket of Blood (1959).
Lucy in the Sky is an absolute flatline, dragging to an anticlimactic ending. Noah Hawley might do best to stay in television.
While it isn’t a terribly exciting conclusion to a richly-textured saga, it’s the little moments along the way that make El Camino a heartfelt final chapter in a great character’s story.
Our first dispatch from Film Fest 919 includes reviews of Brazil’s genre-bending Oscar entry, Trey Edward Shults’ emotional epic, and Ken Loach’s latest social drama.