comedy
In our seventh report from Sundance Film Festival 2019, we cover Hail Satan?, Luce, Adam, Sweetheart and Corporate Animals.
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.
We spoke with Robert Schwartzman about his new film The Unicorn, how he crafts a story, improvising with comedic cast, growing up as a Coppola, and more!
Lost Holiday illustrates our inescapable desire for the days when irresponsible behavior was met with laughter and a slap on the wrist, but what happens when that responsibility is willfully ignored.
Then Came You doesn’t break new ground, but Asa Butterfield and Maisie Williams have the film bursting with such a youthful energy that it’s hard to not at least enjoy the show.
Proving the undead ain’t quite dead just yet, One Cut of the Dead remind us that even though some ideas might sound generic or overworked, it’s ultimately up to the execution
Patrick takes a currently successful formula and twists it into an unbearably cutesy mess, created for shallow monetary gain from an indifferent public.
Adult Life Skills is a poignant examination of a young woman whose growth has been stunted by grief, carried by Jodie Whittaker’s charming performance.
A form of political agenda has been present in film since the dawn of cinem, with YA adaptations like Harry Potter and The Hunger Games influencing a new generation.
Writer/director Melissa B. Miller Costanzo’s feature debut touches on the complex nature of relationships with a stunning visual eye, resulting in a thought-provoking journey into the ill-defined nature of transitioning into adulthood.
The Upside is occasionally funny and charming, but mostly wastes the talent of those involved, becoming a lackluster remake of the French film.
Sullivan’s Travels may not quickly come to mind when watching Monsters, Inc., but after examining both films, there is a connection in not only their themes but their structures as well.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
Individually, scene to scene, Second Act has its highlights. But as a whole, the film simultaneously works and doesn’t work – the epitome of a mixed bag.
A happy accident spit out the low-budget Hollywood machine, Teen Witch is compelling in a way that no individual person could pull off on their own.