In this report from Sundance 2019, Kristy Strouse covers three films: The Sharks, After the Wedding, and The Mustang.
The Man Who Killed Hitler and Then the Bigfoot is not the B-movie you’d expect, but it is an emotionally engaging and gripping film nonetheless.
In Hobbs & Shaw, lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.
Film Inquiry’s Samantha Celentano talked to Yoshi Sudarso about Buffalo Boys, and the rarity of seeing Asian-American cowboys on the big screen.
Although the film ultimately posits that there is far more going on than meets the eye, Braid has more than outworn its welcome.
Riverdale’s “The Red Dahlia” was a deep focus on the concept of right and wrong, that there is no clean cut way to define it, especially within a town of lost souls.
We spoke with Miranda Tapsell, star and co-writer of the Australian romantic comedy Top End Wedding.
While a bit rough around the edges, Under the Silver Lake is one of those films that you’ll be lucky to experience even in light of its flaws, and stands as an astounding sophomore effort.
In The Hole In The Ground, a terrifying encounter with a mysterious neighbour shatters a woman’s fragile security, throwing her into a spiralling nightmare of paranoia and mistrust.
Ever wondered how Star Trek’s holodecks work? We take a look at the show’s fictional technology, and what real life technologies are similar.
The Lego Movie 2 is a perfectly crafted sequel that expands on the world of its predecessor, but stands firmly on its own little Lego-legs.
This year at Sundance there were six films from Australia, and we were able to catch three: I Am Mother, Top End Wedding and Little Monsters.
In our seventh report from Sundance Film Festival 2019, we cover Hail Satan?, Luce, Adam, Sweetheart and Corporate Animals.
When writer/director Martin McDonagh strips his characters of their goodness, he allows the audience to consider their redemption.
A forced romance, lackluster execution, and a tendency to pander to its audience makes IO come up far shorter than it otherwise could’ve been.