The Breadwinner’s captivating aesthetic, heroic protagonist, moments of levity and weighty themes aid in drawing in youngsters and teaching them about the hardships faced by their peers on the other side of the world.
Director Jaume Collet-Serra has been feeding audiences a steady diet of thrill rides for years, and The Commuter marks a reteaming with two of his biggest stars.
Gremlins, an ’80s holiday classic, comes mainly from two influences: old-fashioned sci-fi/horror and the Looney Tunes.
Director S. Craig Mahler follows up Bone Tomahawk with Brawl In Cell Block 99, an unflinchingly violent and truly original revenge thriller.
Clint Eastwood is back with another tale of American heroism, but this time he’s letting the real people tell their story.
We examine how films have changed their use from black and white to color, as well as how it has continued to be used today.
If you are looking for the best film of the saga, Star Wars: The Last Jedi is not the film you are looking for.
The Rape of Recy Taylor is essential and compelling, bringing female heroes of the American Civil Rights movement to the forefront.
Matthew Roe introduces Anarchic Cinema, the beginning of a new series focusing on the evolution of art from the obvious to the complex.
We spoke with Sean Meehan, director of short film Lost Face, based on a Jack London short story, set in frozen mid-1800’s Russian-America.
Gold Star is a refreshingly intimate first-time film from director Victoria Negri, with a beautiful story about losing a loved one.
Andrey Zvyagintsev, who brought us 2014’s Leviathan, continues to dissect Russian culture with little regard for optimism in Loveless.
We examine the history and trends of the slasher horror sub-genre, and whether it is still as popular in modern times as it was in the past.
With a story full of surprising twists and turns, a canvas of dazzling onscreen visuals, and a career-best performance from Middleditch, Entanglement succeeds on several tiers.
While produced with sumptuous care, Youth’s Spielbergian desire to over-sentimentalise every scene makes it more frustrating than affecting.