The Third Man Review: Greatest Film Noir Ever Made
Despite not feeling like it should work on paper, Carol Reed’s The Third Man continues to be perhaps the greatest film noir ever made.
Manas (2024) Film Review: Child’s Eye View
Marianna Brennand’s raw and intimate Manas sensitively highlights the bravery of a young girl trapped in a cycle of abuse.
Familia Film Review: Terrifying, Hypnotic Drama
Francesco Costabile’s stunning drama Familia can be scattered and messy, but overall it is a loaded, subtle, and haunting look at domestic abuse.
The Order Film Review: Necessary & Eloquent
With its powerful narrative, Justin Kurzel’s The Order shares a message of the utmost importance and urgency in today’s political scenario.
Peacock Review: We Are Who We Want To Be
Writer/director Bernhard Wenger’s Peacock is a genuinely funny, confident and uplifting exploration of identity and self-expression.
Battleground Review: A Raw & Real Image of War
Gianni Amelio’s latest film, Battleground (Campo di Battaglia), forces us to see World War I like we have never seen it before on the big screen.
Slingshot Review: Ambiguous Space Thriller
Slingshot makes great use of its stellar cast and promising setup to deliver an ambiguous space thriller that has the viewer guessing right up to the end.
Kill the Jockey Review: More Than a Sports Drama
Luis Ortega’s Kill the Jockey is a visionary take on the sports drama genre that will take the audience on a once in a lifetime adventure.
Maria (2024) Film Review: The World is an Opera Stage
Featuring Angelina Jolie’s best performance to date in the main role, Pablo Larraín’s Maria is a fascinating story where real life meets opera.
Uncanny Alley A New Day (VR) Review: Infectiously Charming
Ferryman Collective nail the live theater VR formula once again in Uncanny Alley: A New Day, which combines irresistible worldbuilding and technical execution with a story with a heart.
