Drags a bit too long for its own good, but Vinterberg’s latest remains to be a fairly compelling drama with fine performances.
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Drags a bit too long for its own good, but Vinterberg’s latest remains to be a fairly compelling drama with fine performances.
An ethereal animated feature if there ever was one, Irish filmmaker Tomm Moore’s wondrous follow-up to The Secret of Kells is an antidote to the fast and furious world of Hollywood animation.
An anomaly in Rohmer’s filmography, this beautiful if minimalist period costume drama about a woman who doesn’t know how she got pregnant feels like a stage exercise rather than an embracing, organic work.
The only entirely female-run news outlet in India is the subject of this inspiring documentary about the perseverance and courage of a close-knit team of Dalit women (born to the lowest caste) who are challenging deep-rooted traditions, toxic patriarchy and corruption through their firebrand style of justice-based grassroots journalism.
The eternal love triangle is given the Hitchcockian treatment in Petzold’s spare but tightly-executed melodrama about outsiders in society.
Tomm Moore’s debut feature is a visual feast that evokes a sense of wonderment even if it may be narratively slight.
Mann’s slick, underappreciated cool fever dream about undercover agents infiltrating a drug trafficking ring is more intelligent and impressionistic a work than any Hollywood studio would dare to admit.
Misplaced hate from the cancel culture mob aside, this debut film features superb performances from the kids, but as an exploration of the erosion of traditional values amid a culture of overt sexualisation, it doesn’t really go deep nor is it entirely convincing.
It’s not a terrific film but it’s still fun to watch the murder mystery unfold as Chabrol gives us the requisite atmosphere that balances humour with the macabre.
Like Leone’s Once Upon a Time in America, this is a film about the nostalgic evocation of time, space, style, and tradition.