Alistair Ryder attended Sundance London and saw Icarus, Marjorie Prime and A Ghost Story and shares his thoughts!
Although the idea of reimagining Pride & Prejudice with a same-sex couple, Before The Fall lacks the fiery spirit of the source material.
Nathan Osborne discusses the benefits and theories surrounding his support for Disney’s stand on piracy and hackers.
Music, improvisation and intimacy: these are the ingredients that have made Derek Cianfrance’s films such emotionally-satisfying treats.
While The Wizard of Lies is overly long and brings nothing new to Bernie Madoff’s story, Robert De Niro’s performance more than makes up for it.
Stefan Zweig: Farewell To Europe is a fine display of craftsmanship, but it’s far too infatuated with its own beauty to engage on the level to which it aspires.
Though blessed with a talented cast, Baywatch is overall a shipwreck, due to its rudimentary, unfocused script and few laughs overall.
Film Inquiry writer Alistair Ryder shares his experiences of his first day at Sundance London, and the four films he was able to see.
The setup of Wind River provides Taylor Sheridan another opportunity to steep his action in issues specific to forlorn places and murky justice.
Pickpocket (1959) is an intricately staged, intimate character study from Robert Bresson – solidifying itself as one of his greatest works.
Alien: Covenant takes a valiant attempt at re-creating the magic from the original, but ultimately falters from screenplay to screen.
Annie Waits is a well-made short comedy that explores strong themes of young identity and love.
With Take Me, actor Pat Healy brings his talent behind the camera, and in the process creates a delightful twist on the kidnapping narrative.
Lately, studios have made a lot of fuss about the supposedly “openly gay” characters in their films. This article is on why queer-coding is harmful.
Jeannette Walls’s memoir on her unconventional childhood serves as the basis for The Glass Castle, a multifaceted tale of her lively & troubled family.