With the summer coming to an end and temperatures coming down, fall is officially on the horizon. While many people are preparing for football season, us cinephiles are preparing for a different season: the fall film festivals.
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What was pitched to, former NFL linebacker, Brian Bosworth as a sincere and light-hearted action flick quickly turned into a badass biker gang epic that’s just as fun as it sounds.
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Nobuhiko Obayashi, best known for his cult debut House (1977), built his reputation on the first version of chaos: a pop-art, kaleidoscopic heavy, absurdist horror-comedy that feels like cinema’s version of shedding.
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A strange and unlikely entry in the pseudo-genre of Action Sequels Better Than The Originals, Universal Soldier: Day of Reckoning is a marvel of brutal action choreography visualized with an inky layer of paranoia thriller style.
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The Island of Lost Souls was and remains the most accomplished in a long list of adaptations of H.G. Wells’ 1896 novella The Island of Dr. Moreau.
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Aronofsky has met and exceeded the hype, crafting a crime thriller with real emotional heft.
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Eve of Destruction feels like a literal blast from a video store past. Part 90s action flick, part cautionary tale of the near future, it’s also a lean melodrama with just enough complexity to withstand its 90-minute run time.
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In 28 Years Later, the year is 2031. It’s the end of the world.
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Zach Cregger’s Weapons places a neat spin on a typical horror story, mixing up the standard ingredients of children in danger, a small town torn apart, and interconnecting storylines.
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Together takes the audience through a relationship journey full of attachment issues and bone-chilling body horror.
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Thematically, the restoration of Kurosawa’s filmography is analogous to the reconstruction of his home country Japan, post-World War II. This rectification sentiment is a significant theme in Kurosawa’s noir Stray Dog (1949).
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In 1974, the world was crying out… for snakes. One brave sound mixer by the name(s) of Art Names would answer that call with his sole directorial project: Snakes (aka Fangs.)
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Welcome to the Dollhouse is a coming-of-age dark comedy film from 1995 that ideally, you would not find relatable.
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High and Low asks: what is the cost of a man’s soul?
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Based on his own autobiography and narrated entirely by Evans himself, The Kid Stays in the Picture is about as far from enlightening about what a producer does, or even what Evans himself did, as possible.
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Thirty years after its premiere, Now and Then maintains relevance in an entertainment landscape that often still fails to provide authentic stories for and about young women.
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Whether I Know What You Did Last Summer was going for a camp classic in its revival or a meta-commentary on Hollywood’s wave of reboots and sequels, there is still much to be desired in the film’s attempt to hook into either idea.
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A hypnotic meditation on life, death, history, fate, faith and the role of the artist in society, Andrei Rublev is like few movies I’ve ever seen.
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Writing a plot summary for a movie like this made me feel like I was having a mental breakdown.
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It is said by someone, somewhere, at some time in history, that if the eyes are the windows into the soul, the hands point to the path of the divine. But what happens when a person loses their hands?
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