While at times vacuous, this Cronenberg picture is still intellectually stimulating, and most certainly one for the arthouse crowd.
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While at times vacuous, this Cronenberg picture is still intellectually stimulating, and most certainly one for the arthouse crowd.
Rohrwacher’s strong debut feature is naturalistic yet enigmatic in style as a young girl comes to terms with living in a new city where religion almost exclusively determines the way of life.
Soderbergh flaunts his technical ability in this rather mainstream endeavor, but style over substance makes the film far from the best of its genre.
One of the most realistic movies about a global pandemic outbreak, though Soderbergh’s film suffers from a rather lacklustre pacing and underdeveloped characters.
Akerman’s last fiction feature is an adaptation of Joseph Conrad’s Malaysia-set first novel in an assured slow cinema style that is evocative of the tropical landscape (shot in Cambodia) where a white man is facing an existential crisis dealing with his estranged mixed-race daughter.
There’s a case for this to be Malick’s opus – it may be slow-moving but will be rewarding for anyone willing to enter a personal journey with the director as he attempts to lift us into a spiritual realm of meaning and purpose.
A case of the sum is lesser than its parts, this ensemble political drama is more intriguing than engaging.
Some may find this terribly mawkish, but Spielberg is still the undisputed master of emotional manipulation, and I say this with gratitude, because it reminds me of the magic of moviemaking.
Spielberg’s first animated feature is ‘Indiana Jones’ meets ‘Pirates of the Caribbean’ in one of the year’s most entertaining movies.
While it isn’t as narratively bold and exciting as some of Studio Ghibli’s best works, there is still an emotional story about family and complicated pasts lying within.