Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
The third episode of American Horror Story: Apocalypse is a biblical and a grim fairy tale, delivering shock and unpredictability, as the Coven arrives.
Stephanie Archer rounds up her experiences at 2018 Tribeca TV Festival, including two world premieres and the 10th anniversary of Shark Tank.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
In Stan & Ollie, the world’s most famous comedy duo, Laurel & Hardy, attempt to reignite their film careers as they embark on what becomes their swan song.
Sensory immersion avant-garde video art grabs the spectator and pulls them into the narrative, they themselves become just as important as the work.
While providing some fun, the “Weirdo Gallagher Vortex” will keep your attention, though it doesn’t really feel like a step forward, leaving viewers waiting for the Shameless we’ve come to love.
Offering a backstory to the infamous tale of Arthur and his Knights of the Round Table, Excalibur excels in its fantastical showcase delivering a story that is still fresh and grand today.
Stephanie Archer rounds up some of her experiences at 2018 Tribeca TV Festival, including two conversations with Bryan Cranston and Rosario Dawson.
Feeling quite like a standalone episode, “The Unicorn in Captivity” the focuses the action on the villainous end of the cast while Dr. Venture has a plot that offers up silliness.
In a decade over-saturated with cheap nostalgia, it is a delight to see a film about the 90s that doesn’t try to be about the 90s; Mid90s tells a timeless story of self-discovery.
With many of Film Inquiry’s staff attending London Film Festival this year, we will be covering many of the festival’s hidden gems.
Our last report from this year’s TIFF includes reviews of the latest offerings by Frederick Wiseman, Paweł Pawlikowski, Christian Petzold, and more!
Kenneth Branagh and Joss Whedon have each put their unique stamp on Shakespeare’s classic Much Ado About Nothing, and both are essential to the canon.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.