Sister-in-law's Seduction 

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)

21 Bridges isn’t going to revolutionize action cinema. However, its action components are respectable. Every act is visibly clear, and as time moves forward, the film changes its conflictual rhythm.

Elio could be seen as fantastic piece of representation, showing lonely children who feel ostracized that they are not alone. That is, unless you look behind the curtain.

“Synchronic” is special, but it doesn’t succeed in achieving all the objectives it aims for. The film is a science fiction oeuvre which tries to be cerebral at some points, although the original idea is interesting, it only accomplishes to talk about some serious matters superficially.

At first glance, Black as Night is a strange title choice for a film about vampirism in post-Katrina New Orleans. However, the title alludes to the world's anti-black and colorist messages.