Film Reviews
And thus, we arrive at the fireworks factory. After a few episodes that were more…
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
In our second report from London Film Festival, the Film Inquiry team recounts foreign arthouse films, an experimental effort, and more.
While last week’s episode was powerful, “Could It Be…Satan?” came in this week with a whisper, merely setting up for episodes to come.
“Do Right, Vote White!” marks Shameless’s 100th episode and it does so with the style we’ve become accustomed to.
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
The Kino Lorber re-release of eight shorts and six features by Brazillian New Wave director Joaquim Pedro de Andrade is a true cinematic gift.
Colette touches on a few of today’s most vital conversations: how society treats women and how society treats those who identify with the LGBTQ+ community.
Smallfoot is desperate to entertain its audience with musical numbers, visual gags, and rapid-fire dialogue without paying that same attention to character or stakes.
Distinctively reminiscent of the show’s first season, with it looking to unfold on a case-of-the-week style basis, How To Get Away With Murder’s season premiere is taking one step back, hopefully, in order to take multiple steps forward.
Transit and Diamantino are two films that, though with varying approaches and to varying success, attempt to delve into the political turmoil of our world through their narratives.
Living in the Future’s Past gives viewers the chance to see what they can do to contribute in the fight against a growing problem within our society.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
In this first report from NYFF, we delve into Jean-Luc Godard’s latest film and an experimental feature from Ming-liang Tsai.