Scorsese delivers another career-high mob film that is quite unlike what he has done before in what could be a strong Best Picture contender.
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Irishman, The (2019)
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Author / Eternality Tan
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Da Sweet Blood of Jesus (2014)
Has no real narrative impetus and mistakes a laidback filmmaking style for meaning-making, this modern ‘Ganja and Hess’ remake by Spike Lee is a turn-off.
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Rosemary’s Baby (1968)
More psychological drama than pure horror, Polanski’s classic will haunt viewers willing to be immersed in its reality.
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Repulsion (1965)
A Polanski masterclass in psychosexual filmmaking, still effectively chilling and disturbing today as it was—surely a shocker!—back in the mid-‘60s.
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Lady Bird (2017)
Saoirse Ronan and Laurie Metcalf shine in this generous, sincere if also wistful work from Greta Gerwig.
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Paprika (2006)
A headfirst dive into this dream-within-a-dream anime, which promises a trippy dose of surreal visuals and unsettling themes.
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Dwelling in the Fuchun Mountains (2019)
A poetic and quietly-resonating feature debut that is slow but never meandering, plus it features one of the year’s most extraordinary tracking shots.
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Synonyms (2019)
At times frustrating to watch, this unorthodox work about national identity will impress and alienate in equal measure.
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Vitalina Varela (2019)
Master of light and shadow, Pedro Costa returns with another visually-hypnotic elegy about the disenfranchised and their unbearable solitude.
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Sully (2016)
Not a great film by any measure, this oddly-structured dramatization and investigative inquiry into the ‘Miracle on the Hudson’ incident is a mildly-affirming work by Clint Eastwood.
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