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.
In Siberia, Keanu Reeves plays a diamond trader – he travels to Russia when his partner goes missing, but falls in love instead.
We spoke with Tim Wardle, director of the great documentary Three Identical Strangers, about the psychology of the film, its subjects, and more!
Ideal Home is a heartwarming ode to acceptance and finding family in the most unlikely places.
In many ways, Hooked is a crucial film that sheds light on a pervasive issue. Still, though, it seems as though there was more lurking beneath the film’s surface.
Who’s Watching Oliver rises above those that have come before and is poised to become a cult classic for lovers throughout the genre.
Best F(r)iends: Volume One’s dramatic ambitions are a step in the right direction for the legendary pair, but its low-budget nature severely limits its potential, especially when it comes to its technical credits.
The Sadist is a 1963 exploitation picture that lives in relative obscurity – but its technical ingenuity is begging to be rediscovered.
McQueen joins the pantheon of documentaries that not only retell a life story, but delve under the skin of the subject to present new layers.
Spidarlings is a love letter to a forgotten era of midnight movies – but in 2018, it feels less revolutionary than in their 70’s heyday.
Vidar the Vampire shows the lack of change within the filmmaking community in regards to the portrayal of women on screen and further proves the necessity of the #MeToo movement.