Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
Helenna Santos shares how she and her team managed to make their feature film, At Your Own Risk, with just $1000.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
The American Western is a worthy way to gaze at the past in reference to our present; seen from the early days of the genre to more recent revisionist entries.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
And thus, we arrive at the fireworks factory. After a few episodes that were more…
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
In our second report from London Film Festival, the Film Inquiry team recounts foreign arthouse films, an experimental effort, and more.
In Aquaman, a man learns that he is the heir to the underwater kingdom of Atlantis, and must step forward to lead his people and be a hero to the world.
While last week’s episode was powerful, “Could It Be…Satan?” came in this week with a whisper, merely setting up for episodes to come.
“Do Right, Vote White!” marks Shameless’s 100th episode and it does so with the style we’ve become accustomed to.
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.