At least once a year or so, a long-lost movie will be unearthed, restored and released to the masses. Obscure titles like Miami Connection and Roar have been re-released and have garnered new cult fanbases, while certain movies of legend — like
The assassination of former heir apparent to the role of Supreme Leader of North Korea, Kim Jong-nam is probably the only time in the history of the world where the legal defense can be summaraized as, “It was just a prank, bro.”
The crime odyssey of Glen Summerford in the fall of 1991 is one of those “stranger than fiction” cases that accordingly has risen to the esteem of modern-day folklore in the Appalachians, where it had occurred.
Two years after his debut, Searching, director Aneesh Chaganty is back with his sophomore feature, Run, a Hitchcockian thriller that may be more traditional than his last computer-screen-based effort but is compelling nonetheless.
Like fellow Winnipeg weirdo before him, Guy Maddin, Matthew Rankin is quickly establishing a unique brand of surrealism for himself in the world of Canadian cinema. In his full-length feature debut, The Twentieth Century, the director applies his penchant for madcap and
Paul Leyden’s Chick Fight centers on an underground MMA fighting club wherein pressed-upon women who have been “trained by society to cry out their problems” can embrace their inner Amazonian and work it out on another woman’s face in the ring. The
Echo Boomers, directed and co-written by Seth Savoy, is positioned as “a true story if you believe in such things” and is told through the narrative lense of Lance Zutterland (Patrick Schwarzenegger) and others who were involved in a series of home
Stop me if you have heard this one before: Nine friends from high school meet up in the middle of a dense forest for a reunion camping trip. Significantly grown apart, their drunken revelry is stained by their antagonism for one another,
In our fundamentally connected digital epoch, it is a challenge for the ache of missing someone to still resonate the way it used to, when that person is eternally at your fingertips. For the imminently spacebound astronaut Sarah (Eva Green), the pining
Mortal exercises commendable ambition in its plot but is ultimately let down by a flat, dour execution; there’s something caught between its potential and its delivery, as if there’s some communication that’s been lost in the stages between the script and the