We Live Film
‘Love and Monsters’ Review: A Sunny Attitude For the Apocalypse
Love and Monsters starts off inauspiciously, with a laundry list of indicators that what you’re about to see is going to be very, very bad. A piece of voiceover exposition delivered in an oh-so-relata...
AFI Fest 2020 Review: ‘Pink Skies Ahead’ is an Honest and Relatable Look at Anxiety
Anxiety is something that most young adults struggle with, and it seems to be increasing as the world appears to be erupting into chaos. Luckily, there has been an outpouring of advocacy for mental he...
‘The Wizard of Gore’ Review: Lewis’ Splatter Film Turns 50!
A shady magician may responsible for the deaths of his audience members.
AFI Fest 2020 Review: ‘Nine Days’ Reminds Us What It Means to Be Alive
A reclusive man conducts a series of interviews with human souls for a chance to be born.
AFI Fest 2020 Review: ‘À l’abordage’ is a Breezy Meditation on Summer Flings
After watching Guillaume Brac’s À l’abordage, it’s clear society needs to stop romanticizing the summer fling. People in the thralls of one never seem to get the memo: it’s onl...
‘Honest Thief’ Review: To Catch a Confessor
Joseph Braverman reviews Honest Thief, another Liam Neeson action-thriller showing off an older man (this time a thief) able to outwit many.
Foreign Lens: Train To Busan (2016)
Chike Colman reviews the intense zombie-on-a-train feature Train To Busan as a special Halloween edition of the Foreign Lens.
AFI Fest 2020 Review: ‘The Boy Behind The Door’ Features Intense Cat-And-Mouse Suspense
After Bobby and his best friend Kevin are kidnapped and taken to a strange house in the middle of nowhere, Bobby manages to escape. But as he starts to make a break for it, he hears Kevin's screams fo...
Film Review: ‘Sylvie’s Love’ is a Melodic Ode to Extraordinary Love
The love affair between music — jazz in particular — and romance on the screen is a story that is often told (from 1961’s Paris Blues to 2020’s The Eddy). Writer/director Eugen...