Film Reviews
Sátántangó is the kind of film that so few filmmakers have the opportunity to make, and even fewer are given the chance to have them shown and cared for so widely.
We spoke with Academy Award-nominated short filmmaker Ruairi Robinson about his new, Lovecraft-inspired short, Corporate Monster.
In this delightfully strange suburban comedy by sketch veterans Jocelyn DeBoer and Dawn Luebbe, adults…
Philophobia is a film where words are meant to have stories unto their own with connotations and nuggets of meaning buried within.
Ever since its Palme d’Or winning debut at Cannes, Parasite has been accumulating buzz like…
After the Wedding wants nothing more than to be a tearjerker, but the emotions run cold and the twists are all for show.
Bree Duwyn covers the second half of the first season of Carnival Row, in which the show’s writing increased in quality.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
The Day Shall Come really comes close to approaching greatness, so it’s even more of a shame that it sputters as it reaches the home stretch.
if Abominable is any indication that Dreamworks is eager to reinvent their brand, bright things could be ahead for this powerhouse studio.
Gemini Man smears a lot of fancy tech all over an empty and tiresome thriller.
My Zoe goes beyond expectations by delving into the emotional ruins of conflicting morality with such perfection, and proves Julie Delpy to be a truly remarkable filmmaker.
Kristen Stewart surrenders fully to the character, embodying Jean Seberg to an almost unearthly effect.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
More reviews from LFF 2019, including the directorial debuts Babyteeth and Calm with Horses, as well as Olivier Assayas’ Wasp Network.