There is the experience of witnessing a film for the first time, and there’s the experience of truly processing when you watch it a second time. Then, there’s the writing about the experience, the details of the full body sob, the reaction to realizing what went unnoticed during the first consumption.
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In his recent features, Rian Johnson has weaved generational conflict into stories that feel universal and current; be it in a futuristic Kansas or a galaxy far far away.
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A deep dive into Fat Thor in ‘Avengers: Endgame’, and the problem with using fatsuits on screen.
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Gaining full marks for style, it’s ‘Dirt Music’s substance that leaves a lot to be desired.
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The film centres on a unique protagonist, autistic hotel clerk Bartholomew “Bart” Bromley (Tye Sheridan), who engages in the act of voyeurism so that he can observe the “regular” people around him and mimic their behaviour.
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Henry Blake’s debut feature ‘County Lines’ is a coming of age film, but ground down to the genre’s darkest essence.
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‘Calm With Horses’ is a ticking time bomb of a movie about family, loyalty, and the pain that stems from having to decide between the two.
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Right from its title sequence, slick text brought onto the screen by crashing waves, it’s apparent that Leigh Whannell’s The Invisible Man is a wholly original take on what could be a stunted premise.
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The country music documentary It All Begins With A Song parts the curtains of the music industry to reveal the tour de force that is the Nashville songwriter.
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“Is becoming a woman analogous, in some deep psychological way, to becoming a werewolf,” the synopsis for Ginger Snaps (2000) asks. Written by Karen Walton and directed by John Fawcett, Ginger Snaps delves deep into this unconventional comparison and creates a relatable anecdote that makes it a beloved horror film. Sisters, Brigitte (Emily Perkins) and Ginger (Katharine Isabelle) Fitzgerald, are proud social outcasts at their high school.
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