United Kingdom
Both The Substance and The Last Showgirl evaluate mortality by leaning on their respective stars’ relationship with celebrity in real life.
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
Trap is a movie seemingly gift-wrapped for greatness that eventually crumbles under its own logic.
Witches may not be the most talked about film at this year’s festival, but it is certainly the most vital.
Forty-five years after Alien, cat people finally have a new horror movie with Michael Sarnoski’s “A Quiet Place: Day One.”
Made in England: The Films of Powell and Pressburger is a fitting tribute to the preeminent magicians of the movies.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
Femme is both mean and tender, displaying how sexuality and secrets can keep ones real self in violent confrontation with one’s masked self.
With Easter just around the corner, it felt like the perfect time to check The Omen off my list.
Club Zero is often disturbing and always engaging, but it’s certainly not for everyone.
Stopmotion is a unique gem within the realm of horror, capturing the disintegration of a puppet and puppeteer.
Durkin’s moving, muscular tale will astound and captivate you, and is unlikely to leave a dry eye in the house. The Iron Claw is a spectacular triumph.
For this Horrific Inquiry we take a look at 2010’s vampiric Let Me In.
Horror films have trained us to expect the final girl, but Funny Games does not acknowledge this hope and desire for survival.
Criterion’s new 4K Ultra HD Blu-Ray is the best Trainspotting has ever looked and sounded on home video format and is the definitive way of viewing.