This is the worst ‘Matrix’ by miles—a tediously talky, muddled mess of meta-recursive ideas that dilutes the mythology that made the trilogy, flawed as it may be, such a blast.
A talking fish on the chopping board partly narrates this interesting if weird non-linearly-structured sophomore feature by Villeneuve that is tonally all over the place, as it explores how cosmic connections mediate between actions and consequences.
Akerman’s final film, shot in long takes that aren’t always compelling, features her late mother in the domesticity of her home as they enjoy the conversations and comfortable silences.
Of all the science-fiction horror movies ever made, Ridley Scott’s significant cultural touchstone of a film might just be the greatest.
This 19th installment is a rather straightforward if still serviceable affair, as the guilt-ridden blind swordsman protects a woman from nefarious harm.
Commissioned by the Soviet state, Eisenstein’s follow-up to his landmark Battleship Potemkin sees his trailblazing theories of montage applied most propagandistically—and to fervent effect—in this high-octane silent film about the October Revolution of 1917.
The tick-the-checkbox fan servicing approach is a mixed bag—the nostalgising can be oddly satisfying but the storytelling ironically feels regressive in the very construct designed to entertain a range of creative possibilities.
Anderson’s weakest in a long while despite the indelible images and precise mise-en-scene which he is so good at—there’s hardly any character worth resonating with, and the stories are way too dry and lack sentiment.
Shot in nine long takes, this Tunisian drama about systemic failure economically if harrowingly shows us what it feels like to suffer under pervasive toxic masculinity, as a woman on a night out tries to seek justice after being sexually assaulted by several policemen.
This beautiful Japanese animated feature by Hosoda is endearing, but it may feel a bit too lengthy at times.
Eternality Tan 