Franchise filmmaking is, in contrast to what journalists have been saying, far from a destroyer of movies as we know it: here’s why.
Matthew St. Clair discusses the soul of classic science fiction films captured in this years break out hit The Handmaid’s Tale.
Jacqui Griffin remembers the late Adam West – the heroic, wacky and nostalgic actor whose career and look-on-life transcended generations.
In Restless Creature, we follow nearly three decades of Wendy Whelan’s career as a ballerina with the New York City Ballet.
The Big Sick is not another run-of-the-mill rom-com: it’s got heart, humor, a touching story, and a refreshing take of immigrant life.
The Mummy, while primed to be an intelligent blockbuster, lacks a cohesive storyline, solid characters and originality.
Alex Arabian discusses Donnie Darko, a masterpiece that remains one of the most relevant, urgent and timely films of the last 50 years.
Handsome has occasional moments of promise, yet it is bogged down by its shoddy story, underused characters, and failed attempts at humor.
Band Aid is a fantastic directorial debut- an utterly charming romantic comedy and an irresistible musical rolled into one.
Coco is the first non-sequel from Pixar since 2015’s The Good Dinosaur, and it’s currently the only one on their official slate.
Editor in Chief Manon de Reeper is attending Los Angeles Film Festival and saw Moko Jumbie & Mighty Ground – here’s her report.
Elliott Lester had juicy, absorbing material to work with. Unfortunately, he turns Aftermath into an underwhelming and empty endeavor.
Our next installment of Take Two sees us examine David Lynch’s divisive debut feature about strange dreams and deformed children: Eraserhead.
Maudie works due to the central performance by Sally Hawkins, though the troubled relationship portrayed is occasionally too downtrodden.
We had the chance to speak with director Matt Schrader about the making of his upcoming documentary Score: A Film Music Documentary, a film any film nerd should see.