Film Reviews
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.
Climax is an oddly boring affair, that shows Gaspar Noe has little of substance to offer when divorced from more offensive subject matter.
The third episode of American Horror Story: Apocalypse is a biblical and a grim fairy tale, delivering shock and unpredictability, as the Coven arrives.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.
While providing some fun, the “Weirdo Gallagher Vortex” will keep your attention, though it doesn’t really feel like a step forward, leaving viewers waiting for the Shameless we’ve come to love.
Feeling quite like a standalone episode, “The Unicorn in Captivity” the focuses the action on the villainous end of the cast while Dr. Venture has a plot that offers up silliness.
With many of Film Inquiry’s staff attending London Film Festival this year, we will be covering many of the festival’s hidden gems.
Our last report from this year’s TIFF includes reviews of the latest offerings by Frederick Wiseman, Paweł Pawlikowski, Christian Petzold, and more!
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Polterheist fails to succeed as a comedic or horrifying film, finding no progression of plot but rather further perpetuates racism, misogyny and homophobia.
Despite the attempt to be original with a subtly spooky fogginess, Slice is a sluggish creation, doling out little bits of plot information at an unhurried pace.
The Dawn Wall is a near-perfect documentary that tells the extraordinary story of free climbers Tommy Caldwell and Kevin Jorgeson exceptionally well.
It’s uncommon for a film to have scenes of vulgar comedy and yet be heart-wrenchingly emotional – but All About Nina is bold, and deserves your attention.
Though Nappily Ever After begins as encouragement that Black women embrace their natural beauty, it soon feels like a judgment of women who put effort into their appearance.
Matangi/Maya/M.I.A. beautifully captures the exasperation of an artist who wants to be heard, struggling to find people to listen.