Much like life itself, Dominga Sotomayor’s Too Late to Die Young is a meandering, seemingly directionless tale but no less enrapturing for it.
Season 3 of Stranger Things reminds us why we love this show, and it’s not just the nostalgia, it’s the characters.
A team of friends return to Jumanji to rescue one of their own but discover that nothing is as they expect.
We spoke with Joseph Cross, director of the upcoming comedy drama Summer Night, about working on Big Little Lies, casting young actors and crafting characters.
While there are aspects that resonate and are bound to create waves that may be engaging,The Handmaid’s Tale ”Under His Eye” is also one of the weakest of the season so far.
While not as subversive as Holland’s cult classic, Klevberg’s polished Child’s Play is a delightfully vicious ode to its campy origins.
Musanna Ahmed covers some of June’s Bollywood releases: Bharat, Game Over, Kabir Singh and Article 15.
Michael Dougherty’s films sneakily inject themes of religion in the horror narrative. Danny Anderson takes a look at how two of his films subvert Christianity.
Heady problems My Days of Mercy’s characters through the wringer, but the clarity with which they are captured makes the difficult journey more poignant.
Only You flips our expectations of a whirlwind cinematic romance to offer a painfully realistic look at the struggle to start a family.
In Knives Out, a detective investigates the death of a patriarch of an eccentric, combative family.
Carlos Reygadas is a filmmaker who’s art embodies a self-examination of human existence down to the molecule of each celluloid strip.
Office Space is a cult classic that still resonates with society today. Joseph Dominguez looks back at this classic 1999 film.
Leto finds a balance between the reality of early rock under a communist regime and the fantasy rockers imagined.
Alex Lines spoke with director Grant Sputore about his new film I am Mother, getting picked up by Netflix, the film’s influences and how to make an original sci-fi film in 2019.