This month Bridesmaids will be celebrating its ten year anniversary, a modern commercial and critical hit.
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Moulin Rouge is unmistakably its own creation, unified in its vision, unfailingly precise in its execution, and achingly sincere in its portrait of a first, lost love.
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As the show is centred on a young girl’s journey of self-discovery and overcoming her traumatic childhood, it is assumed that it would get the feminist stamp of approval.
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Language Lessons is the first computer screen-based film that focuses on the very things that a life of constant videotelephony has taken away from us.
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Castlevania nearly hits a home run with a satisfying conclusion that only has a couple of bumps along the way.
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Undergods firmly wants you to feel every inch of its bizarre horror landscape of a future that might not only be around the corner but is already here.
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The Gleaners and I is a film not just revolutionary for its ground-breaking use of handheld digital cameras, but also for the way in which Varda set about making the film.
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A young boy named Shine (Juan Ramon Lopez) stands in an alleyway, spray-painting a tiger on the walls. The black paint drips fresh as a narrator tells the story of a prince. This month’s highlighted film on Shudder for Women in Horror is Tigers Are Not Afraid (Vuelven) (2017), written and directed by Issa Lopez. It’s a story about five Mexican children whose lives have been devastated by the ongoing drug war. When Estrella’s (Paola Lara) teacher gives her three magic pieces of chalk that grant her three wishes, the children’s lives drastically change into a game of cat and mouse.
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A personal look at how on screen representation can be life-changing.
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Ten years on, John Boyega’s portrayal of young black masculinity in Attack the Block still rings true.
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What is fascinating about ‘The Village Detective,’ as well as perhaps Morrison’s recent practice, is the ability to take a piece of unwanted footage that was tossed away many years ago, and use the documentary form to archive it in such a way that its context and value are maximised.
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Recovery — Mallory Everton and Stephen Meek’s astonishing road trip comedy about the early days of the pandemic — cinematizes the phrase “someday you’ll look back at this and laugh.”
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Despite not holding the soothing influence of Bob Ross throughout its runtime, El sol del membrillo is perhaps the defining documentary about painting.
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How Lars Von Trier portrays mental illness as a superpower in Melancholia.
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Here Are the Young Men depicts the downfall of three teenage boys who find themselves immersed in a world full of drugs and alcoholism.
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While film history contains many portrayals of backstabbing women on the verge of a breakdown, Always Shine offers the idea that the terrifying thing isn’t women themselves but rather the limiting roles society provides for them (along with the disastrous results they lead to).
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While it was ultimately not nominated for the 93rd Academy Awards, Apples is a film that’ll linger in your memory, even long after you’ve forgotten its name.
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WandaVision put Marvel in the world of TV in a big way, but is it enough to be good for television’s future?
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