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.
Loosely based on the true story of a lesbian nun in 17th century Italy, Verhoeven’s largely compelling film (unfortunately banned in Singapore) ticks all the provocative checkboxes as he tackles religious hypocrisy and eroticism in the same effortless breath.
Featuring one of A.R. Rahman’s most outstanding songs (the title track), this is a generally solid work from Mani Ratnam about the complicated dynamics of family, with parts of it set against the context of Sri Lankan militancy.
Isabelle Huppert is indeed the mesmerizing star of this twisted psychological drama, oozing with suspense marked by unease, foreshadowing and dread.
This is one of Rohmer’s more styleless films, though it is inherently more political than most of his output as he intellectualises the nature of political ecology, which may occasionally if unexpectedly come across as a tad dry.
A Mexican family is irreversibly changed when drugs unwittingly enter their lives in this stunningly assured piece of cinema (winner of Best Director at Cannes) that may shock even the most seasoned of viewers.
Kurzel’s contemplative take on the events that led to the 1996 Port Arthur massacre is powerful in its quiet sensitivity, featuring Cannes Best Actor winner Caleb Landry Jones in a chilling performance as the mass shooter.
Edgar Wright’s engaging if offbeat heist film ticks like clockwork, and is accompanied by a terrific iPod playlist for a soundtrack.
