For week two of the San Francisco International Film Fest, our writer Arlin Golden documented the films he was able to see and experience.
In our latest beginner’s guide, we rundown director Mike Nichols, who had humble beginnings in comedy before becoming an acclaimed director.
While The Promise has lofty aspirations and a flimsy base, it proves too thin and drab to be truly gripping.
Indie low-budget vampire horror Night Kaleidoscopee has solid visuals but this is not enough to cover up its paper thin characters and story.
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
The latest Staff Inquiry is about our favorite opening credits, and how they manage to set the style and tone for the film that follows.
Most Hated Woman In America never quite lives up to the intrigue of the contentious woman and her story at the heart of the film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
Thor: Ragnarok wants you to know that Thor is funny. It may not be most appropriate time to emphasize this given that Cate Blanchett’s Hela is out to destroy Asgard.
Filmmaker and actor Brendan Bradley discusses the increasing role that social media is having on creativity and the power of filmmaking.
With The Devil’s Candy, provocative Australian director Sean Byrne proves he is one of the best genre filmmakers working today.
Kathryn Bigelow and Mark Boal found success before with Zero Dark Thirty, and given the timely history lesson they’re presenting, Detroit will likely garner even more praise for the team.
With the rise of streaming services like Netflix getting in to the movie business, will cinemas be able to survive the competition?
Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.