What is considered Latin American art cinema today? Who defines the accepted hegemonic profiles of the films that receive funding and are shown all over at European film festivals?
Blood Bound is a good film to watch if you’re looking for 98-minutes of chuckles and seat-squirming, but you’ll still be abundantly aware that it could’ve been a whole lot more.
The Upside is occasionally funny and charming, but mostly wastes the talent of those involved, becoming a lackluster remake of the French film.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
In the latest of our Away From the Hype series, we examine Indiana Jones and the Kingdom of the Crystal Skull, to see whether it is deserving of its negative reputation.
Rotoscoping hasn’t really been used in this way before. True, this feature from German-Iranian animator…
Much like the eponymous letters, The Aspern Papers is not worth divulging the contents of and would be better off remaining a secret.
In Velvet Buzzsaw, a supernatural force enacts revenge on those who have allowed their greed to get in the way of art, after a series of paintings by an unknown artist are discovered.
Who would have thought the embodiment of Satan would be seen as a pop culture icon in 2018, and his return to screens would bring a new outlook on the role of women in media.
It’s undeniably flawed, but considering its mindbogglingly low £2,000 budget, The Bastard Sword is an impressive achievement.
Storm Boy, an adaptation of a beloved 70’s Australian children’s book, succumbs to the powers of its own nostalgia.
Sullivan’s Travels may not quickly come to mind when watching Monsters, Inc., but after examining both films, there is a connection in not only their themes but their structures as well.
Misogynistic, anti-feminist, or simply a portrayal of women being intricate and completely human? An analysis of female psychopaths in cinema.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
Lukas Dhont’s directorial debut, Girl, is one of the year’s most irresponsible films, and could have a negative impact on younger trans viewers.