Today’s CIFF dispatch includes family drama The Truth, death-row issue film Clemency, Guatemalan queer drama Tremors, and the gonzo Twentieth Century.
Author: Clint Worthington
The director of the extensive ’80s horror doc “In Search of Darkness” sits down to talk about nostalgia, gore, and the appeal of scary movies.
Cheap, creaky jokes and overstimulated filmmaking plague a too-late sequel no one asked for.
Robert Pattinson and Willem Dafoe crash upon the ramparts of Robert Eggers’ disquieting followup to The Witch.
Ken’s character arc comes full circle in a surprising, shocking, dynamite finale to a stunning season of television.
Wyrm writer/director Christopher Winterbauer sits down at Fantastic Fest to talk about the analog appeal of ’80s kitsch and adapting shorts to features.
Vince Gilligan returns to the fate of Jesse Pinkman in a thrilling, meditative neo-Western epilogue made strictly for Breaking Bad devotees.
A shockingly-timely Succession lets all manner of narrative chickens come to roost.
Steven Soderbergh serves up a messy capitalist critique in the shell of a slick, simplistic essay film.
This month, we celebrate The Irishman by looking back on the works of one of New Hollywood’s most enduring voices.
For the classic sitcom’s 25th anniversary, we hash out which of TV’s favorite pals make our list of the greatest TV characters of all time.
Todd Phillips’ seedy, 3edgy5me imagining of the Clown Prince of Crime is as artfully made as it is disturbingly retrograde.
A trip to Logan’s childhood home threatens to fracture the family even further, as Rhea continues to squeeze her way into the Roy’s inner circle.
Flavio Alves’ story of a trans immigrant in New York City may be rough around the edges, but it serves as important advocacy.
The director of the trans-centric drama sits down to talk about indie filmmaking, the struggles of trans POC, and more.
Like its subject, Judy has its good nights and bad nights, but it’s always saved by a powerhouse Zellweger performance.
As Fantastic Fest opens, we talk to Johannes Nyholm, the director of the darkly imaginative Koko-Di Koko-Da, about grief, trauma, and the bizarre.
Flesh-eating creatures and farcical meta-comedy meet in this refreshing, delightful riff on the zombie genre.
