2020s
We Need to Do Something is a cringeworthy experience providing audiences a graphic examination of abuse coupled with the intricate craftsmanship of horror.
With career performances, Raging Fire hits all the right notes in this orchestral masterpiece of Hong Kong action cinema.
Nadia, Butterfly showcases a humanism that hits at the quiet and unsensational moments of an athlete’s life and career coming to a halt.
When one looks beyond the immediate novelty of the film’s title, one is taken aback by how dull and derivative Yakuza Princess actually is.
The D’Innocenzo Brothers’ latest film, Favolacce, is a suburban apocalypse that is bleak and confounding, for better and for worse.
Despite a familiarity with Johnson’s isolated world, Leah Purcell’s passion for The Drover’s Wife ultimately does her directing debut a massive disservice.
Hellbender create its own stamp on the subgenre with a twisting, trippy and complex mother/daughter relationship that is certain to leave a lasting mark.
Reporting back from MIFF 2021, Sean Fallon reviews Come Back Anytime, Set!, Stray, Ablaze and The Witches of the Orient!
Rough around the edges, yet an extremely engrossing character study, Danny. Legend. God. acts as a relevant cautionary tale of an unchecked ego.
While the notoriety of Ted Bundy may live on in infamy, Ted Bundy: American Boogeyman will not.
For a franchise that has been around for 40 years, Mobile Suit Gundam: Hathaway emerges as one of the best films in the Gundam universe.
Lee Jutton continues her coverage of the New York Asian Film Festival with reviews of The Con-Heartist, A Leg, and Raging Fire.
Beautifully filmed, Coast is a film you will find just coasting through the motions.
Ever since the start of the COVID-19 pandemic, filmmakers have generated embellished tales of horror…
The Last Matinee is a blood-soaked and nostalgic journey into a bygone era of movie theaters and their unique beauty.