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.
Gorgeous visuals and extraordinary sound design as expected from avant-garde filmmaker Amit Dutta, but it’s more meandering than usual despite the unusual sci-fi concept.
A surprisingly uneven film with a lack of character and historical focus on 1937 Nanking.
A disturbing and occasionally powerful look at youths with suicidal tendencies through the off/online realms that they inhabit.
Herzog’s take on capital punishment from a humanistic standpoint – haunting, hopeful, and strange.
Eternality Tan 