A sci-fi body horror movie that stands out in Cronenberg’s ‘80s oeuvre for its special effects and just-as-relevant-today commentary on our obsession with the screen.
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A sci-fi body horror movie that stands out in Cronenberg’s ‘80s oeuvre for its special effects and just-as-relevant-today commentary on our obsession with the screen.
More deliberately paced than expected, Haynes’ tabloid-ish melodrama doesn’t quite land that well narratively or emotionally, though it features strong performances throughout.
Perverse and provocative yet bland and uneven, Ostlund’s low-fi debut feature is at best a curiosity, a Roy Andersson-meets-Ulrich Seidl series of docu-fictive vignettes.
Two young brothers hope to visit their estranged father who lives far away as this beautiful Tajik drama takes them on a picturesque train journey across the rural landscape of little villages and hills.
One of Lau’s most beloved works—a showcase of stupendous kung-fu slapstick comedy laced with riotous one-liners, as a royal prince goes undercover with a con artist to unravel a conspiracy related to the throne.
Soderbergh’s half-decent iPhone-shot ’90s style psycho-thriller induces paranoia and discomfort through its constricted visual style, and backed by a terrific performance by Claire Foy.
Sporadically engaging despite the palpable sense of verité-style American indie filmmaking as a newly divorced woman finds herself stranded and exploited by men in this sole feature by Barbara Loden.
Soderbergh returns with an offbeat heist comedy featuring strong performances, but one that half-grooves and half-plods along.
A tad more exciting and invigorating than the first instalment, and one that poses existential questions about the heroic quests of the titular figure(s), this is a continuously inventive and surprising work of blockbuster animation.
Kaurismaki brings his unmistakable style—and gallows humour—to London as he teams up with French icon Jean-Pierre Leaud for a darkly comic take on one man’s desire to end his life.