The official trailer for Darren Aronofsky’s psychological horror Mother! dropped recently, and it’s giving us some serious Rosemary’s Baby (1968) vibes.
Peter Mackie Burns’ debut Daphne is the anti-romantic comedy of 2017.
Content Warning: this To the Bone feature article contains references to eating disorders, eating-disordered behaviours, and weight.
From start to finish, Christopher Nolan’s Dunkirk is a symphonic slice of cinematic heaven.
When you survive a massacre in a foreign country and are provided with food and shelter by a crippled homeless man, but you don’t get to properly thank said man, what do you do?
Recently, Sofia Coppola, director of The Beguiled (2017), revealed in a GQ interview that she hadn’t previously heard of the Bechdel Test.
When you’re about to watch a Transformers film, you know what to expect: cars turning into robots, sexualised women, and explosions a-plenty. The fifth vehicle (pun definitely intended) of the Transformers, Transformers: The Last Knight, doesn’t exceed expectations – it merely fulfils them.
Whitney Houston, as we know her, was a meteorically talented singer battling the demon of addiction – a demon that ultimately killed her. But who was she behind the bright lights of stardom and the alluring darkness of drugs and drink? Whitney: Can I Be Me seeks to give us a taste of the real Whitney.
In 2010’s Beginners, writer-director Mike Mills explored his father coming out as gay five years before his death. 20th Century Women is a love letter to his late mother, and it successfully captures the complexities surrounding both her and the film’s other titular characters.
Animal carcasses, purple nail polish, harsh, remote mountains, and a giggly 13-year-old girl. To view these facets of the 2016 documentary The Eagle Huntress in isolation, is to assume that they wouldn’t mesh ‘properly’ together. After all, what would the bleak Altai mountains have to do with a female living through her first year of teenagerdom? Plenty, as you soon will learn.
Every so often, a film is released that manages to be as moving as it is humorous, without erring toward the saccharine and nonsensical. Roger Spottiswoode’s A Street Cat Named Bob, based on a true story, and the best-selling novel of the same name, is one such film.
For all its emotional resonance and intrigue, Pablo Larrain’s Jackie isn’t quite sure what sort of film it desires to be.
It’s only natural that a smash-hit film will herald a flurry of knock-offs like Ballerina, even when said film is of the animated variety.
From the very beginning of Why Him?, when two middle-class parents accidentally spot the bare behind of their daughter’s ultra-rich tech guru boyfriend, the film produces a distinct aura of lazy writing and sheer predictability. As time passes, that aura does not dissipate. In fact, it escalates.
I feel that I need to make a statement before I waste any of your time skirting around the sole truth surrounding the latest instalment in the Underworld franchise – you likely won’t be surprised (or you might be, and that would be a surprise in itself), but it is clear that in Underworld: Blood Wars, style over substance prevails.
When the events within a film are intensely complicated and heart-rendering, they will often be handled in one of two ways by filmmakers: with restraint, or with pure, ‘we need you to feel all the sad feels’ melodrama. For the most part, Derek Cianfrance’s adaptation of The Light Between Oceans falls under the latter category.
