Christopher Abbott
A darkly comic feature about two best friends, Val (Carmichael) and Kevin (Christopher Abbott), on the last day of their lives.
Here there’s no such thing as taboo – and that, in the end, is the beauty of Jerrod Carmichael’s directorial debut On the Count of Three.
In the American East Coast frontier, two neighboring couples battle hardship and isolation, challenging them both physically and psychologically.
Black Bear goes to such lengths to get across a mundane idea that even its lack of meaning is forgivable in light of its wild viewing experience.
As part of Melbourne’s annual Monster Fest, we got a look at one of the films in the lineup: Brandon Cronenberg’s Possessor.
Deep down, what Possessor offers isn’t just violence and shock value, but has real ideas about identity and capitalism.
Katie Says Goodbye proves playing an uplifting song at the end of a film doesn’t resolve the absence of thematic meaning that was lacking throughout the entire movie.
With virtually no plot and very little character development, Tyrel works best as an examination of masculinity and race.
Amanda Nix champions Christopher Abbott as the next Batman, citing his strong veristility as an actor and relatively unknown status reason enough to hand him the keys to the batmobile.
Piercing is an absolutely weird, kinky, stylish film that might not be to everyone’s taste; it is guaranteed to thrill some filmgoers and offend some others.
Sweet Virginia is a gripping, atmospheric movie, with stellar acting and a characterful script who’s only fault is it is not long enough.
It Comes at Night is a disturbingly effective horror film, delving into themes of paranoia, fear, and distrust in an eerily relevant way.
What’s on the Menu? The Exit Room is a film written and directed by Todd Wisemen (Improv Island, Manifesto). It stars Christopher Abbott (Martha Marcy May Marlene, All That I Am) as Joseph Michaels, a journalist facing execution in a futuristic America.