Riley Keough
A troubled police detective demoted to 911 operator duty scrambles to save a distressed caller.
It’s far from perfect but Zola delivers strong performances, visual language and sound design to make something unique and alluring.
A waitress accompanies an exotic dancer, her put-upon boyfriend, and her roommate on a road trip to Florida to seek their fortune at a high-end strip club.
The Lodge is inventive, it’s clever and it’s pretty damn spooky. If you’re a horror fan, don’t let this one slip under the radar.
Opening her introductory remarks for Zola, director Janicza Bravo recounted how she attended Sundance Film Festival…
Earthquake Bird is likely to be but a blip in the filmography of both its stars and director.
A young woman living in Tokyo becomes the prime suspect in a horrific murder when her friend goes missing in the wake of a tumultuous love triangle.
For a movie that supposedly criticizes what it portrays and updates the film noir for 2019 and , Under the Silver Lake comes up embarrassingly short.
Alex Lines latest festival report from Melbourne International Film Festival features reviews of The Lodge, Angel of Mine and The Unknown Saint.
While a bit rough around the edges, Under the Silver Lake is one of those films that you’ll be lucky to experience even in light of its flaws, and stands as an astounding sophomore effort.
With some of his most impressively staged set pieces to date, Hold the Dark proves that Jeremy Saulnier is one of the most assured genre filmmakers working today.
In Hold The Dark, a writer named Russell Core (Jeffrey Wright) is hired by the parents of a missing six-year-old boy to track down and locate their son in the Alaskan wilderness.
Steven Soderbergh’s Logan Lucky is one hell of an enjoyable ride that leaves you feeling lucky to have been along
So Yong Kim’s Lovesong is a minimalist, strikingly formed small-scale drama about two female friends slowly falling in love.
Andrea Arnold is without a doubt cinema’s leading creator of stories depicting the trials and tribulations of working class women, with an entirely non-judgemental eye. Translating her social realist style across the Atlantic, keeping the inherent themes relevant to the lower classes intact, would seem close to impossible, although due to an unfortunate stroke of luck, the Presidential election has made the general idea of class in an overwhelmingly middle class country relevant yet again. Many audiences have been so transfixed by the way Arnold and her long-term cinematographer Robbie Ryan have captured the sweeping vistas of America, a world completely alien to the council estates of earlier films Red Road and Fish Tank, that they have seemed to ignore the fact this is unmistakably a distinctive piece of work.