Between Monday 4th and Friday 8th June, 16 major trailers were released. Nathan Osborne looks past the hype to see which is best.
With a re-release on 70mm, we look back at the sci-fi classic 2001: A Space Odyssey, which continues to astound after 50 years.
Whilst not always smoothly or coherently told through the performances and screenplay, Susu is a slightly confused movie with a distinct point to make.
An exhausting watch, Racer and the Jailbird never figures out which direction it wants to go in, never forging a true sense of character.
We got to speak with Joanne Mitchell, the creator and star of the outrageous horror-comedy Attack of the Adult Babies.
Handed down through folklore and myths, movies about doppelgängers present a lasting cinematic device through all kinds of uncanny scenarios.
Certainly a crowd pleaser, Zoo is light and easy, yet lacks a certain depth for its subject matter, despite its talented cast, that will leave you wanting more.
At the second San Francisco Dinner with Dames, Cinefemme gathered a group of women filmmakers to dine with literary manager and partner at Magnet Management.
Incredibles 2 is a fast-moving, heartfelt, gorgeous, well-acted, tightly-plotted, and funny movie that left the need for another sequel, which will hopefully be released sooner than 2032.
Musanna Ahmed attended this year’s Sheffield Doc/Fest and reviews some of the highlights: Minding the Gap, McQueen, and more.
As Hiccup fulfills his dream of creating a peaceful dragon utopia, Toothless’ discovery of an untamed, elusive mate draws the Night Fury away.
Rooted by clever dialogue and personable actresses, Dick Sisters is an endearingly quirky short film.
Far from running out of steam as the the silver screen’s likable misfit of the 2000s, Action Point shows the veteran stuntman and actor Johnny Knoxville at the top of his game.
We were able to speak with Adam Sobel, director of the documentary The Workers Cup, focusing on labor camps in Qatar in preparation for the 2022 World Cup.
Doubtful proves to be an intelligent, intimate, and potent first feature for Israelian director Eliran Elya.