Joan of Arc’s childhood is given a treatment that only Dumont could dream up—a period musical backed by heavy metal/rock music that is as madly fervent as it is wearisome.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
A depressing, slow-burning gay drama that only Fassbinder (also fantastic in the lead role) could have conceived—full of pathos and rich in its depiction of the milieu of a class-divided queer community.
A terrific Zatoichi flick and one of the series’ very best, Misumi’s focus on story and characterisation is the real sleight-of-hand here in this slower but well-paced movie.
The continuation of one of popular cinema’s enduring franchises is also one of Steven Spielberg’s rare misfires.
A woman at wits’ end desperate for a job—and her hungry dog—are the subject of Reichardt’s depressing slice of working-class Americana, starring Michelle Williams in top form.
Critics have called this a cine-symposium, and rightly so as Puiu’s latest is an ultra-dense and ultra-slow exercise that sees five individuals debate over their stubborn—and at times arrogant—views on religion, morality and mortality in thought-provoking but dullish fashion.
It runs a little out of steam by the end, but Kiarostami’s breakthrough experiment with the digital video camera is a revelation as the private, unfiltered conversations in a car become wrestling bouts against patriarchy, served with ten ‘dings’ of the bell.
Oliver Stone is back in business in this brutal crime drama about drug cartels that is also flashy and entertaining.
Eternality Tan 