In Orange is the New Black season 6, the inmates of Litchfield Penitentiary have to deal with new rivals and have their friendships tested.
Certainly not perfect but a very interesting watch, Cash’s debut feature film is a well-executed musing on family, sexuality, and the Electra Complex.
Brother’s Nest is a return to form for Shane and Clayton Jacobson, their comic noir feeling like an Australian Hitchc*ck film.
Lost Warrior dares to challenge viewers on ideas of rehabilitation and forgiveness through its compelling case study of a young family separated by a cultural identity crisis.
Despite a strong beginning and strong performances, Siberia is ultimately a confounding mess of genres and tone.
In Skate Kitchen, Camille’s (Rachelle Vinberg) life as a lonely suburban teenager changes dramatically when she befriends a group of girl skateboarders.
For this Staff Inquiry, the Film Inquiry team lists their favorite guilty pleasures; films that aren’t great (or even terrible) can be oh so enjoyable.
The Devil’s Doorway is effective up to a certain point, but ultimately it squanders all of the potential set up in its first act in lieu of a very by-the-numbers found footage horror.
What We Started is not a just documentary about the history of Electronic Dance Music but a metaphor of how the past has shaped the future.
Swimming with Men is a wasted opportunity for what could have been an effective character comedy in the same vein as The Full Monty.
The second season of GLOW is equal in emotional intensity to the first – reuniting its original cast and introducing some new members.
A Woman Captured is a haunting insight into the life of a modern slave; we were also able to talk with filmmaker Bernadett Tuza-Ritter about her experiences making the film.
An uneven final product with a mess of ideas and images thrown onscreen, The First Purge will sear moments in your mind, leaving you to question whether it was all worth it.
While Tag offers a servicable film for those simply wanting a fun time at the movies, the potential for something funnier and more emotionally engaging is unrealised.
With a clever use of eerie scenery and camera shots, The Endless is a vortex that goes full on wacky, without diluting its purpose, only strengthening it.