Bong Joon-ho has put together an intricate, multi-layered portrait of inequality and class. At the same time, he keeps the experience fun and intoxicating.
In this week’s Video Dispatches, Shawn Glinis covers home video releases of Wild in the Country (1961), The Ear (1970) and Killer Crocodile (1989).
With Portrait of a Lady on Fire, writer-director Cèline Sciamma has created something extremely precious. Read our coverage from NYFF 2019.
Blood Quantum manages to be creative, while somehow also maintaining the zombie apocalypse genre’s known sensibilities.
Michel Ocelot has always been one to apply the breadth of his creativity towards an easy narrative, but only with Delili does it prove to be something of a barrier to what can be more fulfilling.
Low Tide is a tactile, explosive study of masculinity, an exploration of what boys do, what makes them do it, and how they need to learn to stick up to each other.
Fresh from LFF, the latest Film Inquiry festival dispatch features reviews of Color Out of Space, Saint Maud, Synchronic and more.
Little Monsters is a horror comedy with no scares, and a comic potential that runs out of steam by the time the premise kicks in.
Dolemite is my Name manages to be a loving ode to Blaxploitation and Black independent filmmaking while still being one of the funniest films of the year so far.
In the first video of a new series, Kristy Strouse discusses Stephen King’s It, comparing the novel to its many adaptations and tries to unravel the story’s complexities.
In the September Bollywood Inquiry, Musanna Ahmed covers new Bollywood releases Chhichhore, Dream Girl and The Zoya Factor.
Disenchantment Part 2 feels new, current, and understanding of what makes it wonderful – chapter 3 not only feels necessary, but desperately asked for.
Cuck is a tone-deaf and brain dead character study where any and all insight is shredded and tossed out to make way for Z-grade exploitation.
Stay home and watch the original Rambo films instead. Rambo: Last Blood was not needed.
The Neglected Politicism of Yasujiro Ozu’s TOKYO STORY
Released just one year after the end of the American occupation of Japan, Tokyo Story obliquely reflects on the changes that came over the country.