comedy
Borderline does a lot over the course of its 90 minutes, it made us laugh, it made us cringe, it made us look through our fingers.
Mickey 17 ripped apart the rule book for a Hollywood sci-fi movie, and its box-office success will hopefully lead to Joon-Ho getting even more runway next time around.
Bloody Axe Wound’s ideas were there but the writing couldn’t back them up or bring them to a place where we could fully care about anything happening.
Film Inquiry spoke with writer/director Kevin Lee and his star Angela Wong Carbone for the short film Aly.
Racewalkers reminds us of the beauty in embracing the quirky, the unconventional, and the unexpected.
Here’s an ice-cold take: movies nowadays are too damn long. Obviously, this is all relative;…
Kicking off this year’s Slamdance coverage, we’re looking at two different styles of comedy in “Lockjaw” and “Portal to Hell.”
Sundance this year has Twinless, an audacious exercise in storytelling, and Train Dreams that is equally as compelling.
Love Hurts is still worth a watch, if only for Quan’s tour-de-force performance.
At its best River uses the broad ensemble comedy of Japan in ways that evoke the best ensemble pieces like Noises Off or Christopher Guest’s work.
From sharp satire to raw emotion and meta-commentary, these three films take wildly different approaches to storytelling in this Sundance Film Festival.
While quirky and strange are always welcoming qualities, they can also be quite risky. Wilson Kwong reviews Bubble & Squeak and By Design.
A Woman is a Woman has never looked or sounded better—but Karina’s effervescent charm remains the film’s most valuable asset.
While these three Sundance movies are narratively different, their female focus leaves this trio, all by female directors, a fantastic assembly of our talent in today’s industry.
This year, I’m kicking off Sundance with one of their short film programs. Here are four films from the Short Film Program 2.