Don’t let the inauspicious title fool you; In This Corner of the World has been anything but meek. A box office hit in Japan and a winner at their Academy Awards, its subsequent run on the festival circuit was met with further acclaim.
I Am Heath Ledger is a deeply intimate look at the late actor, but fails to ask important questions about the man behind the mask.
Documentary distributors Dogwoof continue their hot streak with this fascinating inside look at Ronald Reagan’s presidency.
47 Meters Down is a total shark sandwich of a film, that will leave every audience member wishing they were watching Jaws instead.
Dylan Walker is attending the Edinburgh International Film Festival and reviews Paris Can Wait, God’s Own Country & Bad Day For The Cut.
CBS Films is gunning for a lucrative action series with American Assassin, hoping the best-selling novels from Vince Flynn and Kyle Mills will provide a backbone for the company for years to come.
In the second of a series for 2017, we take a run-down through the box office potential of several high-profile summer movies.
Editor in Chief Manon de Reeper attended panels about trans people in film, female filmmakers and Queen Sugar at the Los Angeles Film Festival, this is her report.
Julie Dash’s 1991 debut still feels like an eye opening experience when viewed over 25 years later- you need to let it in to your life.
The excellent performances by Weisz and Claflin sadly don’t make up for the fact My Cousin Rachel is boring to the point of tedium.
Moka is a French slow burning drama that occasionally conjures some suspense, which makes it fascinating in its own way.
The Book of Henry is strange from its outset, and its lack of redeeming characters or strong emotional moments doesn’t much help matters.
Be they underrated flops, or initially acclaimed works that were forgotten, here are Film Inquiry’s picks of the films time shouldn’t forget.
The Autopsy of Jane Doe has an absolute doozy of a premise, but it soon gives way to ticking off every horror cliche in the book.
Baby Driver is a joyous summer film, an indelible sugar rush that is further proof that Edgar Wright is the true saviour of popcorn cinema.