United Kingdom
Witches starts off like a video essay. Writer, director, editor (and “star”) Elizabeth Sankey talks…
As in all his work, McQueen coaxes strong performances, with particular props to first-timers (at very different ages) Heffernan and Weller.
Tuesday was a beautiful and moving film, if you haven’t seen it, you need to and you need to tell five friends to do the same.
Yorgos Lanthimos’ Kinds of Kindness is smart and funny, uncomfortable, moving, and confusing. It is also beautiful.
The Crow struggles to connect with audiences due to its lack of compelling character development and chemistry.
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.