Features
Wonder Woman and Atomic Blonde have proven that women can have strong leading roles; here are more that show our favorite cinema heroines.
Though released in 1979, THE WARRIORS has a video game structure that would prove as influential to the artform as games themselves.
It Comes at Night advertises itself as horror, but is in actuality a more atmospheric, spine-tingling thriller; here’s why this was an issue.
Passengers, upon release, was panned as a misogynistic fantasy; but here’s why it might actually be more progressive than that initial take.
Gone is the heyday of the classic 90’s romantic comedy, but why is it that so many contemporary romantic comedies fail?
If done right, a Grand Theft Auto adaptation would be thrilling, hilarious, and could be one of the most ambitious adaptations ever produced.
In this installment of Take Two, Robb Sheppard reconsiders David Lynch’s Mulholland Drive after a less-than-satisfying first viewing.
Abraham Lincoln: Vampire Hunter shocks and surprises as it makes you think twice about Lincoln’s true identity.
The Silent Hill movie was a fun movie with its own story, while still holding onto a level of faithfulness from the video games.
If we can accept aesthetic subversion as a form of commentary or aesthetic, why do we still consider trash films as some sort of failures?
In our latest entry of The Nominated Film You May Have Missed series, we discuss the 2005 political drama Good Night, and Good Luck.
Enid and Rebecca’s ironic appreciation of pop culture in Terry Zwigoff’s 2001 cult film hides an insightful look at young adulthood.
The Planet of the Apes films have made us wonder about the price of power, and how humans will do everything to get it – will the third do the same?
For Dinner With Dames #9, Cinefemme gathered a group of women filmmakers to dine with Lawrence Kopeikin, entertainment attorney at Morris Yorn.
In the second of a series for 2017, we take a run-down through the box office potential of several high-profile summer movies.
