Some may find it tedious, but Escalante’s modest feature debut showcases the cinema of the mundane—it portrays the quiet, unexciting daily life of a couple, and through it, reveals what is psychologically tormenting and unsaid.
A mid-2000s departure from his wuxia epics, Zhang’s largely restrained work about an aged Japanese father travelling to China to film a traditional mask opera for his estranged dying son ultimately teeters towards the emotionalism of the director’s earlier melodramas.
The third part of Park’s ‘Vengeance’ trilogy explores sin, atonement and poetic justice in the only way he can—through an intricately-plotted narrative, strong visual flair and explicit violence.
Certainly not one of Malick’s best, but this extraordinarily beautiful film—in its 172-minute extended cut—sees the director at his most lyrical and self-indulgent.
Clooney’s finest moment as a director is this tightly-structured black-and-white tribute to pioneering broadcast journalist Edward Murrow as he battled McCarthyism head-on in the 1950s.
Shot in intimate 16mm, this is one of Baumbach’s finest and tightest dramedies, about a family of four trying to navigate an inconvenient but necessary divorce, backed by all-round excellent performances by the main cast.
Perhaps the deepest film, philosophically speaking, of the trilogy, as Nolan delivers a compelling entertainer that asks not who but what Batman is.
Continue reading →A war movie that is intentionally ‘all talk but no action’—it doesn’t really make us feel for the characters, but we might just grasp the futility of being a cog in the machine.
Continue reading →Khoo’s work here is oddly affective, finding the poetic in the mundane as stories of love and solitude come together in elliptical fashion.
Eternality Tan 