Sounds and vibrations undoubtedly shape the world as we know it, in turn capable of…
For a movie that supposedly criticizes what it portrays and updates the film noir for 2019 and , Under the Silver Lake comes up embarrassingly short.
Beyond being historically significant and a truly gorgeous film, Son of the White Mare manages to connect with our most ancient arts and make them digestible for any viewer.
Sometimes, a movie is so bad it’s just bad, such is the case with 2011’s The Love Patient, a movie so offensively, irredeemably bad it’s hard to sit through.
Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
Rahul Patel reviews the 2019 Emmys ceremony, considering the highlights and surprises of the night.
With a talented and diverse cast, chills coming from the darkest corners of television and unending potential, Evil is definitely the one to watch.
VHYES tells a poignant story about the odd agency a child can find in television, and the combination of joy and horror that, almost always, follows.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
In The Two Popes, the conservative Pope Benedict and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.
Bloodline is a truly frustrating experience – a few less unneeded twists and turns might have made the whole thing plausible.
Film Inquiry had the pleasure of speaking with Stephen Wilkes, director of Jay Myself, an ode to the life and career of his mentor, photographer and artist Jay Maisel.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Although uneven, Always in Season is hugely effective in raising awareness and provoking discussion around racial injustice.