Columns
In this series, we will be examining various films in the seminal genre of time travel. To start, we look at George Pal’s The Time Machine, the most famous adaptation of H.G. Wells’ novel.
With impeccable direction, engaging dialogue, consummate costume and makeup, and one of the best performances ever to grace the silver screen by Oldman, Darkest Hour is an overwhelming achievement.
Everyone here at Film Inquiry has their preferred way of integrating movies into the holiday season, and this month we’ve decided to share the ones we’ve built well-loved traditions around.
Matthew Roe introduces Anarchic Cinema, the beginning of a new series focusing on the evolution of art from the obvious to the complex.
We examine the history and trends of the slasher horror sub-genre, and whether it is still as popular in modern times as it was in the past.
They are the scoundrels, the miscreants, the agents of chaos, and you can’t keep your eyes off them: these are our favorite villains!
It’s almost Halloween, so the Film Inquiry writers tell about the films that truly scared them. Even traumatised them.
Despite belonging in the overdone sub-genre of found footage, Hell House LLC manages to just stand out amongst the masses.
Alex Arabian spoke with Paul Haggis, writer of Oscar winning films such as Crash and Million Dollar Baby, and honoree of EMIFF.
Prepare to be utterly charmed by Stephen Frears’ Victoria & Abdul, a warm, twee film that gives movies for senior audiences a good name.
Our latest Staff Inquiry deals with our favorite years in cinema, and our picks ranged from classic Hollywood to more modern day.
In the latest of our Take Two series, we tackle Requiem for a Dream, the drug-fueled nightmare that launched Darren Aronofsky into stardom.
Alex Arabian attended a private screening and Q&A of Stronger. This is the video and transcription of the interesting talk with Jake Gyllenhaal.
Writer Arlin Golden sat down and talked with Neasa Ni Chianáin, director of the upcoming Irish documentary School Life.
mother!, Darren Aranofsky’s polarizing film, is doing poorly at the box office – just what does that mean for the future of studios?