thriller
Retirement from the force isn’t just the end of his career — it’s the annihilation of his entire identity.
In a retrospective world, now is the time to revisit Splinter – or to discover it for the first time. You won’t be disappointed.
Jim Dixon spoke with director Ansel Faraj about his film Loon Lake, blaspheming, and burning down the church in the rain.
The unfortunate thing about Beasts Clawing at Straws is that it tries to force entertainment through shock value instead of investing in the characters.
The Dry has just enough mystery and intrigue lingering at every begrimed frame to keep the audiences invested.
Trained focuses on a unique idea but never seems to spring up or explore what’s beneath the surface of it’s chosen gimmick.
The Midnight Sky is another example of something that could’ve been a complex and emotionally affecting work of science-fiction, but quickly collapses.
If you need a new holiday staple to fill your cinephile holiday binge, look no further than Better Watch Out.
High Ground passes every landmark of the proliferating Meat Pie Western but is unable to escape the calculable cliches.
I’m Your Woman, the fourth feature film directed by Julia Hart, offers some unique twists on the ‘70s crime thriller.
For their disability day special, Film Inquiry contributor Diego Andaluz interviewed Run’s director Aneesh Chaganty and co-producer Natalie Qasabian.
On the surface, Sphere — a 1998 flop directed by Barry Levinson and adapted from Michael Crichton’s hit sci-fi thriller — is perfect for lockdown.
Fatman is an exhausting, vile, depressingly boring movie which might have been kinda funny as a skit or short.
Carga is a gripping short film. Its marvellous build-up is ever so slightly hindered by a speedy conclusion—it’s a film you want to be longer.
Let Him Go is both a period piece — though set in the 1950s, not the Old West — and also a tale pregnant with grief.