Armie Hammer
House of Hammer’s project is to re-centralize the voices of the women who were harmed not only by him but by multiple generations of the Hammer family.
Death on the Nile is certainly better than his recent films, but it relies too heavily on its director/actor being enamored with his own material.
Luke Parker speaks with filmmaker Nicholas Jarecki about Crisis, his star-studded, three-pronged production based around the opioid epidemic.
A drug trafficker organizes a smuggling operation while a recovering addict seeks the truth behind her son’s disappearance.
Rebecca is not a bad or dull film, but it squanders the immense potential for something vital and thrilling in du Maurier’s tale.
A young newlywed arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife.
Detective Hercule Poirot investigates the murder of a young heiress aboard a cruise ship on the Nile River.
Wounds is a work of unyielding dread – one of those misunderstood gems that comes along every so often, catching you off-guard with its skin-crawling concept and arcane atmosphere.
Hotel Mumbai tells the true story of the Taj Hotel terrorist attack in Mumbai. Hotel staff risk their lives to keep everyone safe as people make unthinkable sacrifices to protect themselves and their families.
On the Basis of Sex is not likely to plant the seed of determination in the next RBG, as they don’t need pop feminist representations of even the most laudable of figures.
On The Basis of Sex tells the story of Ruth Bader Ginsburg, her struggles for equal rights and what she had to overcome in order to become a U.S. Supreme Court Justice.
Call Me by Your Name shines for its potency and lyricism, delving with an effortless thrall into the lives of two men who are forever changed.
Final Portrait is filled with acute vigor, seamlessly-interwoven humor, impeccable historical accuracy, and superb acting that combine for another Tucci gem.
High concept on paper, in reality, Mine turns out to be convoluted and utterly confused about the story it is telling, ending up feeling more like a Michael Bay film on a shoestring budget.
SXSW Review: SORRY TO BOTHER YOU: Boots Riley’s Absurdist, Existential, Surreal, Anti-Capitalist Sci-Fi Masterpiece Of A Debut
It’s hard to describe what Boots Riley’s debut, Sorry To Bother You, is actually about, because it is trippy, all over the place, and absolutely brilliant. You need to see it.