Ever since its Palme d’Or winning debut at Cannes, Parasite has been accumulating buzz like…
After the Wedding wants nothing more than to be a tearjerker, but the emotions run cold and the twists are all for show.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
Monique Vigneault settle down over tea with Ina Weisse to talk about her latest undertaking: The Audition, a portrait of a frayed music teacher at a prestigious Berlin academy.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
The Day Shall Come really comes close to approaching greatness, so it’s even more of a shame that it sputters as it reaches the home stretch.
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
Jack Godwin takes a look at the portrayal of mental illness in anime film The End of Evangelion.
Gemini Man smears a lot of fancy tech all over an empty and tiresome thriller.
My Zoe goes beyond expectations by delving into the emotional ruins of conflicting morality with such perfection, and proves Julie Delpy to be a truly remarkable filmmaker.
Kristen Stewart surrenders fully to the character, embodying Jean Seberg to an almost unearthly effect.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
More reviews from LFF 2019, including the directorial debuts Babyteeth and Calm with Horses, as well as Olivier Assayas’ Wasp Network.
As a collection of history’s worst tyrants and criminal masterminds gather to plot a war to wipe out millions, one man must race against time to stop them.
Greta Gerwig and Noah Baumbach’s Frances Ha perfectly represents the complexities of your 20s. Read why the film is such an accurate portrait.