Scorsese’s entertaining Bob Dylan documentary doesn’t really go very deep but it is an indelible time capsule as it tracks the legendary artiste’s defining 1975 tour across America.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
A depressing, slow-burning gay drama that only Fassbinder (also fantastic in the lead role) could have conceived—full of pathos and rich in its depiction of the milieu of a class-divided queer community.
A terrific Zatoichi flick and one of the series’ very best, Misumi’s focus on story and characterisation is the real sleight-of-hand here in this slower but well-paced movie.
It’s so simple—two men go on an impromptu camping trip—yet Reichardt’s cinema of healing is deeply insightful about the ephemeral nature of life and friendship.
Under Cocteau’s inventive sleight-of-hand, this early postwar work may be the most magical and poetic adaptation of the beloved fairy tale ever filmed.
Possibly the finest and most fully-realised of his early works, Wes Anderson tells a quirky story about a family full of eccentric, estranged members looking for some measure of redemption and reconciliation.
Petzold’s unique treatment of the doppelganger story as a Hitchcockian exercise in exorcising the Jewish-German trauma of WWII boasts an extraordinary denouement of unparalleled execution.
This is one of the franchise’s most daring entries—bloodier, gorier and more morally ambiguous.
Not as purely cinematic as some of his greatest works, but Ray manages to invoke feelings of introspection as a movie star gets a reality check from strangers—and fans—he encounters on a train.
Eternality Tan 