action
Writer and Director Makoto Shinkai talks about his film Suzume, his influences, video games, mourning, loss and having an asteroid named after him!
Concrete Utopia stakes its claim as the heir apparent to Parasite and Squid Game and should have similar crossover appeal for international audiences.
Despite positive feedback from the press, The Nice Guys went overlooked by the public, sadly tanking at the box office. It’s time to fix that problem.
Napoleon feels a lot like its titular character: loudly ambitious to a fault, and it can’t make up its mind on what to be.
This isn’t essential viewing, but as someone who thinks it’s perfectly okay to enjoy a messy movie, it’s fun and charming in the right places.
Welcome back to the scariest, and at times goriest, column here at Film Inquiry: Horrific Inquiry.…
“Train to Busan” director Sang-ho Yeon delivers action, spectacle, and robots in “Jung_E,” now streaming on Netflix.
Director David Fincher returns with The Killer, a stylish thriller about an assassin played by Michael Fassbender.
The Creator’s many impressive technical qualities are entirely mishandled, their import put above what a movie really needs: a good story.
Ultimately, Top: Gun Maverick preserves the atmosphere of a timeless era and places it in the modern-day, harnessing an infectious energy.
Stories about college professors are popular at this year’s Toronto International Film Festival, with both Hit Man and Dream Scenario being examples.
For this edition of the column I decided to dive into two of Paul Verhoeven’s interesting and unique filmography.
With an emotional family-focused core and some unique visual flourishes, Blue Beetle is surpisingly memorable.
Prey offers an excellent example of less being more, especially in a series long known for its over-the-top dialogue and gory violence.
If you liked Jaws 2 (or Sharknado 2, Deep Blue Sea 2, Open Water 2, Ouija Shark 2, etc. etc), this bad Shark Sequel has everything you need.