United Kingdom
The film may fall short of capturing the epic nature of The Odyssey, but Ralph Fiennes and Juliette Binoche’s powerful performances elevate it beyond its flaws.
Last Breath is a movie that strips away all the Hollywood fluff, but turns in a delightfully-tense docudrama-thriller.
Like a Saturday Morning cartoon drenched in blood, The Monkey throws everything it can at its audiences.
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.