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Steven Soderbergh’s Unsane easily fits within the category of exploitation cinema, but why were critics willing to overlook some of its questionable morals (or lack thereof)? Emily Wheeler takes a deeper look.
Though grounded by a strong presence in the young Madison Wolfe, I Kill Giants is often too dreary to be truly engaging, and too under-realized to be an immersive escape into a fantastical world.
A trio of staggering performances by Hawke, Seyfried, and Cedric the Entertainer, a gripping story that mines our current sociopolitical landscape for philosophical fodder, and typically formidable writing make First Reformed a mandatory watch for everyone.
Andy Nyman and Jeremy Dyson’s adaptation of their hit stage play Ghost Stories is a serviceable British horror – but with so many recent gems in the genre, is being “serviceable” enough to justify its existence?
Assuming cinema etiquette is still alive, the loudest sound that can be heard among A Quiet Place’s audience will be their own semi-breathing.
Tyler Perry’s latest directorial effort shows his tropes are continuing to wear thin, with no sign of improvement. To make things worse, he completely wastes the magnetic screen presence of Taraji P. Henson.
Gemini asks, in a city overflowing with people who want it all, when you’re famous, are you ever really safe?
Told in just nine powerful takes, this harrowing legal drama from director Kaouther Ben Hania uncompromisingly depicts one woman’s search for justice following a sexual assault in a corrupt, patriarchal society.
Despite An Ordinary Man’s ultra slow pace, it contains a superb score, Silberings’s minimalistic story and grand direction, and Kingsley and Hilmar’s respective tour-de-forces, sharpening in tuning slowly towards a gripping climax.
There are such a vast number of planes to appreciate Rear Window on and one…
With poignancy, grit, and proficiency, Sweet Country gazes out at the vast Australian outback while also deeply examining the darkness of humanity within.
With sophisticated cinematography and aesthetics, The Strangers: Prey at Night and its moody semblance of survival preserves dread just enough to deserve its place in slasher cinema.
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
We spoke with Anders Walter about the making of I Kill Giants, what draws him to the intersection of fantasy and death in storytelling, directing a phenomenal, female-led cast, and what he’s looking forward to in his career.