Despite a tendency to overdo it when it comes to the scares themselves, Paco Plaza’s Veronica contains enough focus on character and symbolism to be an effective demonic possession horror.
In this third part of Fantasy Science, we’re going to get into how multiple universes may be possible. We’ll attempt to categorize some of the ones represented in popular fiction, starting off with the film The Golden Compass.
A Gentle Creature is a divisive film, too exaggerated to be a realistic condemnation of the corrupt bureaucracy it seeks to lampoon.
Director Chloe Zhao follows up her debut film with an outstanding sophomore feature, The Rider, that in a just world would see her get an Oscar nomination for her impactful direction.
Away from the hype and the Twitter hubbub and the behind the scenes stories, Fantastic Four is still a very bad movie. Hopefully, it hasn’t put the final nail in the coffin of perspective Fantastic Four adaptations.
Daughter of the Nile is a prime example of the underseen gems that we are privileged to finally have access to thanks to distributors like the Cohen Film Collection. You might have to dig a little deeper to find them, but when you do, you are rewarded with something special.
Told in just nine powerful takes, this harrowing legal drama from director Kaouther Ben Hania uncompromisingly depicts one woman’s search for justice following a sexual assault in a corrupt, patriarchal society.
Alex Arabian spoke with Jason Sudeikis on the red carpet of upcoming Netflix film Kodachrome at San Francisco International Film Festival, about working with Ed Harris, Elizabeth Olson and director Mark Raso.
Beast seduced many during its festival run, drawing praise for its unfolding mystery and strange tonal quality. It’s the feature debut of writer/director Michael Pearce, and people took note of such a striking first film.
One of America’s most revered American filmmakers, Richard Linklater returns with “Where’d You Go, Bernadette?”. Before then, here’s our guide to his filmography, from his experimental efforts like Slacker, to mainstream crowdpleasers like School of Rock.
Happy Anniversary blends comedy and drama well, creating a film which never feels like one genre is more prominent than the other.
Kay Cannon’s directorial debut Blockers is an unabashedly raunchy comedy with its heart in all the right places, giving the teen sex comedy a nice sprucing up through big laughs, a game cast and a lean script.
Love, Simon may be a cute addition to the romantic comedy genre, but Film Inquiry writer Tessa Bahoosh argues that despite its abundance of charm, the film is more concerned with appealing to straight audiences, rather than the closeted kids who need it.
Based on a real-life and serious disease, Midnight Sun, though with initial potential, is ultimately too heavy-handed and clichéd to be an effective romantic drama.