Ralph Fiennes
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.
Cardinal Lawrence is tasked with leading one of the world’s most secretive and ancient events, selecting a new Pope, in Conclave.
The Menu is a masterfully dark comedy severed extra vicious and deviously delicious.
A young couple travel to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.
While driving to a party, a wealthy couple on the verge of divorce accidentally hit and kill a young Moroccan man who was selling fossils on the roadside.
On this Animation Sensation we discuss the 1998 animated film The Prince of Egypt.
Combined with Vaughn’s ability, there’s a genuine surprise to this entry that may make this the best of the series.
The Dig finds a good old tale of British excellence but never quite brings it to life failing to avoid trite pitfalls along the way.
The Dig depicts the discovery of the Sutton Hoo burial site on the property of Edith Pretty.
Thanks to our friends at Magnolia Mae Films, Film Inquiry is happy to announce that we’ve got 2 DVDs to give away for The White Crow to our European readers!
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
Our latest report from LFF includes a nice mix of crowd pleasers in-waiting, anticipated auteur efforts, and a slew of arthouse discoveries.
A remake of the 1969 Italian-French film La Piscine and partly inspired by David Hockney’s ‘Swimming Pool’ painting, A Bigger Splash is the fourth feature film from Luca Guadagnino, and has already made significant waves with critics and audiences alike (sorry for the absolutely appropriate pun). Starring Tilda Swinton as rockstar Marianne recovering from throat surgery, and Matthias Schoenaerts as her ever-loving albeit boring boyfriend Paul, the two of them aim to escape life to an idyllic Italian island in the middle of the Mediterranean. No phones, no work, no interruptions.
Wes Anderson can be an acquired taste. Settling on gathering enjoyment from his films can come after much deliberation as to whether he’s serious about the utterly finicky nature he employs in his chosen colour palettes, set construction, camera movements and scrupulous plot details. But his films carry far more value than the kind of hipster magnetism that seemingly oozes out of them.