In Ari Aster’s follow-up to Hereditary, Midsommar, a young woman reluctantly joins her boyfriend on a summer trip where things quickly go awry.
Too weird for 1950’s Hollywood, director, writer and actor Ed Wood used the medium of film to tell the kind of stories he wanted to tell.
Despite the large questions it establishes at the onset, I’m Not Here offers no answers or satisfying catharsis.
Yes, God, Yes is a film you’d want to hug, where its authentic nature, lovable lead, and gentle director can win over anybody.
Film Inquiry spoke to director Carol Morley about Out of Blue, why she chose to adapt a Martin Amis novel, and why Patricia Clarkson is a gay icon.
The Professor and the Madman tells the story of the creation of the Oxford English dictionary, which was put together by a professor and a convicted killer.
In Black Mirror’s “Crocodile”, people have the technology of recreating visuals from memories. Is this tech becoming reality?
Stanley Donen is a testament to the fact hopes and dreams are necessary because sometimes they do come true.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
Shadowhunters “A Kiss From A Rose” was back with a punch, delivering one delicious detail after another, excitement to return each week freshly renewed.
The Brink is a well-constructed documentary that offers a lucid view of how the Breitbart founder thinks and operates.
Spring Breakers may be much more profound of a film than initially thought, lucidly expressing our fascination with money and violence.
We’re in a shift in the current age of horror, where films tend not to be outright scary, but instead delve more subtly into inborn fears.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
With a premise filled with potential and talent both in front of and behind the screen, Captive State is an unfortunate disappointment.