Avatar is a franchise that brings cinema back to its origins. It is a spectacle. We sit in awe in our seats, captivated for over three hours by its technical prodigy.
What does it take to finally make someone snap? To finally make yourself feel alive? Die My Love (2025), starring Jennifer Lawrence as Grace and Robert Pattinson as Jackson, is a strange slice of life film skewed sideways into an uncomfortably funny thriller.
On paper, it has everything audiences have been waiting for: the continuation of the characters’ story that we grew attached to in the first opus, new songs to enchant the end of the year’s celebrations, and the introduction of the iconic Dorothy from the Wizard of Oz (1939). But does it stick the landing? Debatable.
Through tight acting, eerily realistic practical effects, and a suspenseful climax, the film is a graphic depiction of the dangers plastic poses even more now that it’s inside of us. We sat with Director Guy Trevellyan and Actress Anna Popplewell to discuss these themes.
With decisive visuals, fantastic performances, and a genre-defying story, The Things You Kill is a brilliant dissection of masculinity, patriarchal inheritance, and cyclical violence. We had a chance to sit down with the writer-director to untangle the film’s themes and explore how his background as a self-described man between nations contributed to their development.
Deadly Vows (2025) by Jared Cohn follows Darya and Sam in a psychological thriller inspired by true events. With a story of survival, resilience, and wit, we sat down with co-stars Shiva Negar and Peter Facinelli to hear about the message of the film and how they prepared to tell such a harrowing story.
It might seem paradoxical to talk about the visual aspect of a band’s music, but if Twenty One Pilots are famous for one thing, it’s being an exception to the norm.
Frowned upon by big studios today because of the time and money it takes to create them, model miniatures are the pinnacle of fictional cinema.
Tattoos have different meanings and purposes, but what they do not signify is whether someone is inherently good or evil. So why do so many film and television directors treat them as embodiments of everything wrong with the world?
