Final Portrait is filled with acute vigor, seamlessly-interwoven humor, impeccable historical accuracy, and superb acting that combine for another Tucci gem.
Icarus is a somewhat messy if also interesting look at the doping practices in Russian sports, with a director who gets in over his head.
Baker turns his camera towards overlooked members of society in The Florida Project, another film doused in realism, much like his Tangerine.
Taking direct inspiration from the Coen brothers’ films, Noah Hawley’s Fargo is an exemplary summation of their absurdist philosophy.
In our latest collaboration, we discuss cinematic worlds we want to live in, ranging from John Ford’s Westerns to Jacques Demy’s musicals.
Good Time is a fast-paced, oscillation of raw emotion and manic suspense that plays directly to Pattinson’s continually emerging thespian strengths.
Lady Macbeth pokes at the romanticized perspective of Victorian-set films, becoming more akin to a macabre neo-noir.
Alex Lines describes his final week at the Melbourne International Film Festival, in which he saw films ranging from sci-fi to quirky dramas.
Mary Louise Parker is a versatile actor who has found success on stage, TV and in films; here is a rundown of her career so far.
A Father’s Day is a short film told about an estranged pair of father-daughter zombies, and it is surprisingly effective.
Despite a talented cast and crew, The Glass Castle ultimately fails as an adaptation of the famous memoir due to some questionable decisions.
Will Aaron Sorkin be as distinctive a director as he is a writer? We’ll know with his upcoming directorial debut MOLLY’S GAME.
Once Upon A Time In Venice is clearly a film made by cinephiles, but the scattered subplots and underdeveloped characters combine for an overall misfire.
Plotless, joyless and cash-grabbing, The Emoji Movie deserves the brunt of our wrath because it showcases everything wrong with Hollywood.
We were able to talk to Brendan Muldowney, director of the Irish medieval film Pilgrimage, starring Tom Holland.