United States
Boss Level might not break new ground, but it’s throughly entertaining and worth watching at least once, if not time and time again.
The United States vs. Billie Holiday is multilayered and nuanced in its messaging, brought to life on the strong performance of Andra Day.
If the clause “write what you know” is to be taken literally, then Kerry Mondragon fits the bill with his feature debut Tyger Tyger.
Full of unfunny human characters and a plot that doesn’t even involve its iconic animal characters, Tom & Jerry is a gross miscalculation.
The Horrific Inguiry column takes a look at the Universal Monster film Frankenstein (1931) and its legacy within film history.
It was a minor miracle, and in great part attributable to Van Peebles, that Watermelon Man turned into such a masterpiece.
What we’re given is far more surface-level than it should be, and unfortunately doesn’t add as much to the conversation as it perhaps thinks it does.
I Care A Lot suffers from a tonal shift, is still prevalent enough that the film is entertaining and enlightening all the way through.
The Vigil finds success in its intricate and delicate layering of its narrative, giving time for viewers to digest each tidbit given.
Brivik spoke with Film Inquiry about his involvement in Wild Indian during its premiere at the 2021 edition of the Sundance Film Festival.
Queerly Ever After #46 analyzes 2015’s Akron, where two young men find love despite a tragedy that links their families together.
While Alice Fades Away maintains your attention, there is a certain spark missing throughout its core, leaving it enjoyable but far from memorable.
Wilson Kwong spoke with Natalie Chao at the 2021 Sundance Film Festival about her documentary To Know Her.
With a lack of investment in its central character and a lackluster execution, The Night is a film not likely to see the dawn.
Another Earth, Mike Cahill’s sci-fi romance celebrating its tenth anniversary, is multifaceted and deeply layered.