2021
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!
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…
From stunning performances all around, Coda is perfection from start to finish, keeping audiences engaged through humor, heart and genuine craftsmanship.
The Suicide Squad is a magnificent blend of gore, heart, and humor that engages its audience instantly with strong performances, and breathtaking visuals.
Haunting, strange, and engrossing, What Josiah Saw works in perpetuating perceivable dread.
Homeroom is empowering and it is inspiring, bringing a fresh perspective to the events of 2020 and to the future.
The film flounders in its overly long crawl but makes up for it in a repulsive final twist.