comedy
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
I’ll Be Right There showcases family drama and how, within that drama, there can be something to laugh and feel good about.
The Becomers politely reminds us that being a human is fundamentally weird–– and yes, being a human in 2020 was especially weird.
Saturday Night is the story of young producer Lorne Michaels trying desperately to keep his new live TV show on the rails, 90 minutes to the premiere.
“Greedy People” follows two bumbling cops who accidentally murder a rich civilian, finding themselves in the crosshairs of foes that wanted to do so first.
The Instigators evokes the Boston movies of yore like a Dunkin’ drinkin’ Ghost of Christmas Past.
Despite its issues, I find the movie an uncomfortably entrancing tale of desire, one that I will continue to return to for years to come.
Viva is told by an indie woman director whose mise-en-scene and script pay tribute to classic musicals.
Despite its flaws, Six in Paris should fascinate fans of the French New Wave—or, really, fans of anything French at all.
Michael Friberg’s newest short, You Are Here, blends comedy and existentialism as one man grapples with the sheer scope of existence.
Liu Jian’s Art College 1994 rejects these clichés and instincts, instead seeing youth in the face of art for what it is: blowing a lot of hot air.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
Hundreds of Beavers is a comedic masterpiece, delivering non-stop hysterical sight gags, formal ingenuity, and cathartic woodland violence.
Film Inquiry had the extraudinary chance to discuss with actor, writer and director Theda Hammel and actor John Early to discuss Stress Positions.
Kung Fu Panda 4 has lost some of its mojo, but still has a few nice moves left in this old franchise.