The Eyes of Orson Welles is an introspective look at the legendary man; in addition, we were able to talk with Mark Cousins, the director of the film.
There’s certainly fun to be had with this deeply silly slice of R-rated raunchiness, yet The Spy Who Dumped Me struggles to balance its crass brand of humor with shocking bursts of carnage.
With Cold War, Pawlikowski has crafted his most ambitious project yet; a portrait of a tortured relationship starting in late 1940’s Poland, climaxing in the early sixties.
Warm up your pipes and put on your dancing shoes, because this month’s staff inquiry…
Film Inquiry’s Kristy Strouse got to talk to filmmaker Louisa Fielden about her very timely short film People You May Know.
With complicated and charismatic women at its center, Madeline’s Madeline manages to keep you hooked and never stops being fascinating to watch.
Some may argue that Ripe, as with the previous three hours, takes the idea of ‘show, don’t tell’ a little too far; but that very concept is what ensures that Sharp Objects is the most compelling piece of work currently on television.
In 1850s Oregon, a gold prospector is chased by the infamous duo of assassins, the Sisters brothers.
Scotty and the Secret History of Hollywood is a delightful look behind the curtain at a side of Hollywood kept so long in the dark.
My Erotic Body shows that a woman’s true erotic self is not defined by a specific body type, age, or what society deems as attractive.
We spoke with Kelly Macdonald about her newest film, Puzzle, the many intriguing different characters she’s played in the past, and her approach to acting.
The Equalizer 2 takes the raw entertainment value of the original film, inverts it into something unflinchingly brutal, removes the quirks of its main character, and builds to an anticlimactic final battle.
In Everybody Knows, a woman returns to her hometown outside Madrid with her two children to attend her sister’s wedding. However, the trip is upset by unexpected events that bring secrets into the open.
In this first part of The History of British Cinema, we discuss the rise of the studio film in the 1940s and ’50s.
Nico, 1988 from director Susanna Nicchiarelli respectfully marks the 30th anniversary of the late singer’s death while attempting to restore a little of her legacy.