Elisabeth Moss
Director Colin Watkinson serves up a dynamite episode of The Handmaid’s Tale with “Unknown Caller”, one that builds with stomach churning intensity and ends with a bang.
The wives of New York gangsters in Hell’s Kitchen in the 1970s continue to operate their husbands’ rackets after they’re locked up in prison.
With mainstream recognition on the horizon, we take a look back at indie writer-director Alex Ross Perry’s eclectic film history so far.
In Her Smell, a self-destructive punk rocker struggles with sobriety while trying to recapture the creative inspiration that led her band to success.
Us embraces puzzling imagery and timing to evoke a sense of interpretative meaning, which leads to personal intimacy with the viewer.
In Us, two parents take their kids to their beach house, but their serenity turns to tension and chaos when some visitors arrive uninvited.
With the Emmys just a few short weeks away, the Film Inquiry team argues why each of the Emmy Acting Nominees should win the coveted award.
Mad To Be Normal should have been a film vibrating with R.D. Laing’s unique energy, but ends up being unfortunately unengaging.
The Seagull is a gorgeous adaptation of one of the world’s most beloved plays. The characters are not always likable, but what the film has to say about love, art, fame, and other human desires remain powerful even in the age of Internet celebrity.
Though not every element of The Square works, and frequently gets heavy-handed, it’s hard not to appreciate Ruben Östlund’s sense of humor.
Chuck is the story of boxing legend Chuck Wepner, yet never quite manages to match the outsized metaphoric grandeur of the film it inspired.