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With a weak and unfocused plot, Todd Haynes’s Wonderstruck feels like a love letter that isn’t quite sure who it’s addressing.
The heart of Daddy’s Home 2 is lost by formulaic tendencies and its overbearing insistence on being funny. It’s no future Christmas classic.
Mudbound is a gorgeous and affecting film, regarding themes of racism and the after effects of war in 1950s Mississippi.
Mum is an incredibly moving and profound short film about a transgender woman reconnecting with her ailing mother.
Brad’s Status is a film about social media that is bolstered by its performances, but ultimately it is not particularly memorable.
Abundant Acreage Available is a simple package of meditation about life and death you will be thinking about long after the film has ended.
My Life as a Courgette is animation at its very best, providing heart and thought-provoking ideas amidst a backdrop of eye-popping beauty.
Home Again is a stale romantic comedy that feels like a waste of the talents of everybody involved, feeling boring and aimless throughout.
Whilst much of the conversation in the Western world is about the resettlement of Syrian refugees in Europe, Insyriated reminds us of those who can’t even leave their own homes.
Nina Gielen’s supernatural drama Arts & Crafts is gaining attention on Seed & Spark. She talked to Film Inquiry about the film’s creation.
Good Time is a fast-paced, oscillation of raw emotion and manic suspense that plays directly to Pattinson’s continually emerging thespian strengths.
Despite a talented cast and crew, The Glass Castle ultimately fails as an adaptation of the famous memoir due to some questionable decisions.
Matt Keeslar is a lesser-known actor that nonetheless gave some fine performances across many different genres.
Gerard Butler’s attempts to shake off his action hero image in A Family Man are commendable, but he is miscast in this saccharine drama.
After Love thrusts you into the middle of a domestic war zone. Thanks to the claustrophobia and heightened tension, there are very few moments in the film that aren’t fraught with emotion; whether it be fury, devastation, or even, on occasion, love (or at least what’s left of it).