The original Alien left many questions unanswered, which upcoming prequels will address. But do we even need those questions answered?
It’s time we opened up auteur theory to include more than the director; actors leave unique marks on their films, and deserve our critical attention.
We spoke with director & activist Maria Giese about the incredible organizational efforts behind the Women’s Media Summit, taking place 31 March – 2 April.
Bokeh is a stripped down take on a dystopian apocalypse- and like the best sci-fi, offers a bleak commentary on modern society.
In Cristian Mungiu’s Graduation, a father is trying to keep his daughter’s future together after a violent attack.
In this very personal feature, Zachary Kennedy explains how the Divergent series helped him understand his sexual identity: instead of belonging to one “faction”, he belongs to more.
Dig Two Graves is a visually stunning low budget Gothic thriller, which is effectively surreal and compelling.
Hollywood has been testing the waters with raunchy, female-driven comedies for years now, but none have boasted the box office firepower of Rough Night.
Disney smartly cast Emma Watson as Belle in Beauty & The Beast; we explore the similarities between the feminist actress and character.
Personal Shopper is the rare film that is unclassifiable in terms of genre, refusing to neatly fit in to the preconceptions of a horror film, as well as lacking a distinctive explanatory reading.
While not as perfect as the original, Beauty & the Beast is an elegant and magnificent display that true love for a film never dies.
Films coming to theaters this week are Life, Power Rangers, Slamma Jamma, Wilson, and more. We compiled the info & trailers.
Today, we analyse Blair Witch, Adam Wingard’s influences and how he applied the horror concept of home invasion on a film set in a forest.
With sci-fi short Caleb, Amanda Mesaikos and Susanne Aichele have brought us a unique and interesting piece that keeps the viewer engaged.
For a story we’ve seen over and over, Mean Dreams, Bill Paxton’s last film, is compelling, refusing to take the usual narrative routes.