based on book
With the end in sight, there seems to be trouble brewing from every angle for the Shadowhunters in the coming future.
A mature, eerie, and effective coming-of-age story, The Changeover is a definite standout when it comes to young adult films.
Second Sight’s revival of World on a Wire is vital for not only highlighting one of Fassbinder’s more underrated efforts, but for resurrecting one of the essential texts of science fiction.
Piercing is an absolutely weird, kinky, stylish film that might not be to everyone’s taste; it is guaranteed to thrill some filmgoers and offend some others.
I Am the Night is a thrill ride that not only tells Fauna Hodel’s incredible story, but also pays homage to the LA noirs of the past.
Much like the eponymous letters, The Aspern Papers is not worth divulging the contents of and would be better off remaining a secret.
Storm Boy, an adaptation of a beloved 70’s Australian children’s book, succumbs to the powers of its own nostalgia.
The Leisure Seeker isn’t a bad film, but its sluggish pace, inexplicable changes between the film and the book, and some corny dialogue keep it from being great.
We spoke with Alex Pettyfer, director and star of Back Roads, about what it was like directing for the first time, how much this project meant to him, and his take on the story.
A well-acted, mostly captivating, and wholly unpredictable noir, Back Roads is an impressive directorial debut for Pettyfer, who pulls double-duty in his strongest screen performance yet.
Mortal Engines clearly understands its source material, which makes for a fantastic first act, but has trouble successfully adapting it, resulting in the rest of the film being lackluster.
The Grief of Others examines how time can only heal wounds if we let it through intentionality and a sense of vulnerability that can be simultaneously scary and painful.
Transit finds Christian Petzold on the same end of the telescope as his previous films, but looking through a more sophisticated, evolved tool with a wider view of the medium.
Was The Grinch necessary? Absolutely not. Sure, there’s some filler. Sure, there’s some cringe. But the quantity of them was not enough to impinge.
Another cinematic stab at Lisbeth Salander will always appeal to the character’s preexisting fans, but The Girl in the Spider’s Web does nothing to show the uninitiated what they’re missing.
