A brave and ambitious film unafraid of wrestling with some very difficult questions, 7 Days In Entebbe is let down by an oddly-executed finale and dialogue that is clunky and expository a bit too often for comfort.
In The Man Who Killed Don Quixote (directed by Terry Gilliam), a disillusioned advertising executive, Toby (Adam Driver), becomes pulled into a world of time jumping fantasy when a Spanish cobbler believes him to be Sancho Panza. He gradually becomes unable to tell dreams from reality.
Film Inquiry’s resident physicist takes a look at teleportation in film and TV, explains how teleportation would work, theoretically, and whether one day we might be teleporting from A to B.
Matthieu Rytz’ documentary Anote’s Ark aims to explore the personal cost of climate change, that remains ignored by politicians internationally.
Obey is a compelling watch anchored by visceral, emotional performances by Rutherford and Miller, and a well-crafted script by Jones.
BlacKkKlansman is the first Spike Lee film in a while to get people talking, and…
While ‘Fifth Generation Chinese Cinema’ technically refers to the films produced by the fifth generation of graduates from the Beijing Film Academy following Mao Zedong’s ‘Cultural Revolution,’ the connotations of the phrase are far deeper in meaning than simply referring to a group of people.
Lu Over the Wall combines a basic coming-of-age story with folkloric legend to concoct a tale of self-discovery that is incredibly messy, but also very beautiful.
Though struggling with its initial attempts to find its footing, Deadpool 2’s overall sense of exuberance and self-aware nonsensicality is still evident throughout, showcasing both David Leitch’s talent to direct action and Reynolds’ commitment to his character.
In Leave No Trace, directed by Debra Granik, a father (Ben Foster) and his thirteen year-old daughter (Thomasin McKenzie) are living in an ideal existence in a vast urban park in Portland, Oregon, when a small mistake derails their lives forever.
Gus Edgar reports from Cannes Film Festival, where he saw Solo: A Star Wars Story, Lars Von Trier’s The House That Jack Built, and more, and lists the winners of the festival’s Awards.
Though Duck Butter’s attempts to distinguish itself in an overloaded genre are admirable, it is unfortunately too undercooked to be a fully-fledged success.
Lee Jutton had the chance to sit down and talk with the executive producers of PHENOMS, a new soccer documentary series, Mario Melchiot and David Worthen Brooks about how they chose their subjects and some of the most powerful moments they captured on the camera.
Alex Lines reports on his time during 2018 The Golden Koala Chinese Film Festival, held in Australia, and the films he was able to see: Interval and Fist & Faith.
Life of the Party may be one of the weaker comedies to come from Melissa McCarthy in a leading role, but it’s entertaining, pleasant and harmless enough to warrant your attendance if you’ve been taken by McCarthy’s previous work with Ben Falcone.