Absorbing, hilarious and fun, Miyazaki’s feature debut is solid in terms of storytelling and is flat-out entertaining, leveraging on the popular exploits of master thief, Lupin the Third.
This terrific Iraq War picture is as anti-war as it gets, adopting a pure, minimalist aesthetic but operating with a maximalist Oscar-worthy sound design, as several soldiers holed up in enemy territory await support and rescue.
A small-town doctor embarks on a journey to find his nephew in Bi Gan’s formidable meditation on time and memory, where the director functions as a medium in which his alchemistic ways reveal moments of pure symbolic and poetic wonder.
The unsaid and the silences ring deafeningly in this Brazilian drama set in an island community, where generations of women have endured sexual abuse and exploitation, but one maturing teenager becomes cognizant of her fate.
Bigelow’s muscular film overcomes a very info-dense first half with an extremely riveting and tense second half, chronicling the decades-long hunt for Osama bin Laden.
Three men learn the bloodiest lesson ever from a rightfully vengeful woman in Fargeat’s stylish and gleefully exploitative first feature, a lean and mean modern throwback to the New French Extremity movement.
Two female teens hope to seek better opportunities in the body-violating world of modelling in this raw if measured Locarno Golden Leopard winner with strong echoes of Ulrich Seidl and Andrea Arnold.
A boy, forced to stay with his inmate mother in prison, finds a place of imaginative solace in a young political prisoner, as this Turkish classic subverts the ‘prison movie’ by focusing on the communal spirit of women who find a ‘home’ within the four walls.
A tense, suspense-driven war thriller centering on a bomb squad that thrives on unpredictability, even though its shaky-cam excesses and lack of a traditional narrative may wear thin at more than two hours.
Cruise remains committed as ever as Hollywood’s death-defying action star par excellence, but this is such a slog and bogged down by the need to justify the knotty, plotty ideas of the earlier movie.
