Features
In the first of a series for 2017, we take a run-down through the box office potential of several high-profile summer movies.
In this new series, Robb Sheppard looks back on films he hated in the past to give them a second chance. In the first episode: Fincher’s ZODIAC.
In this edition of the nominated film you may have missed series, we discuss the classic 1961 sports drama The Hustler, starring Paul Newman.
Film Inquiry writer Alistair Ryder sat down and talked with Woody Harrelson about his live one-shot directorial debut, Lost in London.
Candice Onyeama discusses the importance of her short film Hush to for herself, and about identity and those suffering from mental health.
In this analysis of 2007 film Lars And The Real Girl, we talk about how Lars’s delusions are very similar to how we find catharsis in film.
The Fifth Element 20 years later: it’s still the packed with resplendent imagery, inventive art direction, and some well edited set pieces.
In our latest interview, we talk with director Michael McQuown, whose latest work is the anthology horror film The Dark Tapes.
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.
Filmmaker and actor Brendan Bradley discusses the increasing role that social media is having on creativity and the power of filmmaking.
With the rise of streaming services like Netflix getting in to the movie business, will cinemas be able to survive the competition?
Since its creation, the Jacob Burns Film Center has curated timely, poignant series aimed to enlighten and uplift its audiences. The theater, located in Westchester County, NY, is always one step ahead of the curve. Coming up this month is another exciting exhibit, entitled Greenhouse.
Join us in our challenge to watch only female-directed films for an entire week, and find out how hard that actually is.
Reservoir Dogs, though seemingly a time capsule due to having premiered 25 years ago, is actually quite potent in today’s post-truth world.
It’s become the norm to watch bad movies to make fun of bad movies, but why don’t watch them just because they’re a ton of fun?
