The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
The film comes to feel like a parody of a possession flick rather than a straightforward replication of the genre’s tropes.
It’s at a certain point toward the finale that this Scream becomes almost as drearily repetitious as the reboot culture that it skewers.
Kirby and Leon discuss the roots of their partnership and how they navigated the portrayal of the main character’s sudden amnesia.
In The Whaler Boy, coming of age is inseparable from disillusionment.
During an amnesiac’s atmospheric nighttime ramble through Manhattan, the seeds of a narrative are sewn but never nurtured.
After a while, writer-director Iuli Gerbase’s boldly mundane take on forced isolation gives way to a regular sort of mundanity.
Belle shows an impressive generosity of spirit toward the modern teenage experience.
Asghar Farhadi discusses his approach to writing complex stories and his understanding of what happens when people tell the truth.
The film treats its premise as the backdrop for a trite celebration of empowerment and teamwork among professional women.
Renata Pinheiro’s film boasts the pleasures of shlock while sacrificing none of its philosophical rigor.
Expedition Content interrogates how images are produced and who produces them.
Despite its overarching gloominess, That Cold Dead Look in Your Eyes still retains Onur Tukel’s flair for brazen comedy.
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