Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that zigs when we expect it to zag.
In the 16th part of Fantasy Science, we are going to look at how the extendable ears from Harry Potter might work in the muggle world. Let’s begin.
A Bread Factory is a sprawling epic with an intimate touch, which perfectly articulates why community art spaces are necessary in the modern world.
Director David Gleeson constructs a haunting but picturesque film with Don’t Go, a sci-fi about grief and loss.
Cam may not be the full blooded horror its festival hype suggests, but it’s an involving glance at an online world through an unnerving lens.
Write When You Get Work can be sweet, and there are semblances of earnest intentions, but overall it feels tame.
While the Doctor and her gang save the day once again, “Kerblam!” plays with the subconscious fear of technology in the workplace, and its ability to take on tasks previously carried out by humans.
Matthew Roe interviews Maxim Pozdorovkin on his latest foreboding documentary, focused on artificial intelligence and automation.
A slow-burner, The Clovehitch Killer toys with your mind, leaving you to question what you already know to be true.
We look back on the too short career of Sarah Jacobson, who insisted on doing things her own way, and was known for her endless enthusiasm and passion for the arts.
The Last Race is a beautiful documentary that is, able to move between overtly stylized and ethnographic motifs while still remaining a unified piece.
Welcome Home has a melting pot of possibilities, preying on human fear, but much like its local creep, it skulks when it should attack.
In a world where people collect Pokémon to do battle, a boy comes across an intelligent talking Pikachu who seeks to be a detective.
Amongst all the madness a moment of love outshines all the revelations and murder, but the final episode of How To Get Away With Murder comes together strongly.
We spoke with RaMell Ross, director of Hale County This Morning, This Evening, about the fluidity of documentary, the representation of blackness, and more.