Watching Thoroughbreds, one is fully aware of the debt it owes to the similar films that came before it. But that doesn’t make it any less enjoyable to watch. Female friendship has never looked so deliciously dangerous.
Lead by a powerhouse cast and brilliant directorial debut, Allure challenges and leaves a significant trail of destruction in its wake.
In a move that stands out, Love, Simon is being pushed as an out and proud LGBTQ…
Who’s ready for some comedy, romance, fantasy, and social satire? Great, because you’ve got Sorry to Bother You coming soon, a film that’s weird enough to try for all of that.
Koreeda Hirokazu’s intimate family drama After the Storm captures a side of Tokyo rarely seen in cinema, as well as beautifully depicting a turbulent familial relationship with glimmering hope.
Despite strong leads and commendable technique, The Lullaby falls short of being a solid horror film due to its dull setting, convoluted story, and some unnecessary twists.
First Reformed had its U.S. premiere at SXSW, with Paul Schrader and Ethan Hawke in attendance. First Reformed brings Paul Schrader’s career to a full circle, with both strong Bressonian and Taxi Driver influences.
We had the chance to speak with Laurent Lafitte, star of the upcoming French film See You Up There and Elle. We spoke about how he got the role, Albert Dupontel’s unique directional style and the importance of seeing the film in a cinema.
Despite a hopeful change of pace for Jim Carrey, Dark Crimes doesn’t deliver, suffering from choppy editing, a lack of dynamic characters, and a generic murder mystery story.
The Seagull appears to be a faithful adaptation of the play of the same name, trusting that the source material will be enough to keep audiences engaged without needing to updating it to a contemporary setting.
In this first part of Fantasy Science, our resident physicist Radha Pyari Sandhir explains wormholes and discusses how they are portrayed in film, and explains what the real life science behind them is.
![Were you familiar with Mary Magdalene before you read the script? Garth Davis: Not in a deep, detailed way, but in the movies I have seen before and in the way everyone kind of understands. When I read this it was a completely different version, so that got me curious. I started to investigate it in a deeper way and found it astonishing it has taken us so long to put that story out there in a more popular light. Extraordinary really. It was definitely different than the story I grew up reading in the bible. I remember when the Passion of the Christ came out, an actor got struck by lightening during shooting. Anything like that happen on set for you? Garth Davis: There were a couple of pretty amazing moments. When we were shooting the scene of the exorcism, where the family was exorcising Mary in the Sea of Galilee, just before we were about to walk into the water the wind just completely stopped. Completely still, almost on cue, right? Then suddenly lightening appeared all over the ocean. It was unbelievable! So much so, that when shooting the scene I had to paint it out. It just felt like a trope, you know? People would have thought it was a visual effect. [laughs] Wow!Garth Davis: The other one was during a scene on the beach of Magdala. I did a drawing of the location and I wanted to add some smoke in the background. So we went down to the Recee, and as I was standing there, smoke emerged exactly where I was drawing it (laughs). It was one of those moments where you have to ask if something was guiding us in some way.](https://www.filminquiry.com/wp-content/uploads/2018/03/MV5BNDc5ODE4OTQxNl5BMl5BanBnXkFtZTgwODEzOTcyNDM_V1_SY1000_CR0014991000_AL_.jpg)
Garth Davis proves once again his skills behind the camera can help uplift middlebrow material, but only to a certain extent, Mary Magdalene significantly undercut by the increased familiarity and conventional storytelling.
Shawn Glinis reviews the two films he saw on the Monday of SXSW: Bo Burnham’s Eighth Grade and Bart Layton’s American Animals.
A Wrinkle in Time has many touching and beautiful moments, in large part due to the incredible and relatable performance of its young star. However, the heavy-handed direction and sugary-sweet story may wear on adults used to more nuanced fare.
You can’t fault EVERY DAY for a lack of ambition – however, the film feels watered down by a breezy running time that doesn’t allow for a deeper exploration of the body swap conceit.