crime
As it stands, episode one of Allen v. Farrow does not provide us with anything new or substantial that may change the outcome of the case.
For the 60-year anniversary, Film Inquiry muses on Allen Baron’s noir film Blast of Silence and its existential prison of shadow and sound.
Shorta is a timely and thrilling actioner with its plot of police brutality and ultimately its message an important one to hear.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
4×4 is a broodingly effective thriller set in the crime-riddled streets of Argentina, with poignant thoughtfulness for the characters involved.
The Little Things wants to be a movie absorbed in its meticulous clues and details, yet stumbles over itself at nearly every possible moment.
Spoor combines the plot of a murder mystery with the morality of an old-fashioned fable to convey a message of righteous environmentalist anger.
Retirement from the force isn’t just the end of his career — it’s the annihilation of his entire identity.
The unfortunate thing about Beasts Clawing at Straws is that it tries to force entertainment through shock value instead of investing in the characters.
The Dry has just enough mystery and intrigue lingering at every begrimed frame to keep the audiences invested.
The Ripper, the eponymous killer, and the series expose the misogyny with aplomb at every step and moreover, it is persistently captivating.
I’m Your Woman, the fourth feature film directed by Julia Hart, offers some unique twists on the ‘70s crime thriller.
Fruit Chan’s Made in Hong Kong’s bleak tale of alienated youth should appeal to anyone who has ever felt the future slipping away from them.
In Dreamland, Margot Robbie is perfectly cast as a complex woman whose outlaw glamour belies her inner darkness.
That’s one of the great joys of Memories of Murder. From purely a storytelling perspective, it synthesizes together something totally compelling.
