There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.
A zombie apocalypse threatens the sleepy town of Little Haven – at Christmas – forcing Anna and her friends to fight, slash and sing their way to survival.
The Two Jakes may be an inferior sequel to Chinatown, but this Jack Nicholson-directed follow up is more intriguing than its reputation suggests.
With William H. Macy taking the director reins this week, episode five of Shamless gives viewers glimmers of the familial ties that keep this show from going off the deep end.
Considering Quincy Jones’ origins, his struggle, and his accomplishments, the Netflix documentary Quincy is a missed opportunity.
Alex Lines reports on the films he was able to see at the Delphi Bank 25th Greek Film Festival, which celebrates the film movement known as the Greek Weird Wave.
Kate Nash: Underestimate the Girl is an uplifting documentary that proves that even when your circumstances change for the worst, you can rise above them and come out renewed.
In The Oath, a man struggles to make it through the Thanksgiving holiday without destroying his politically divided family.
We take a look back at the seminal adventure sci-fi series Lost, examining its legacy over a decade after it started.
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
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.