It frequently feels like a self-admiring work intoxicated with its own style and mood, but this chic arthouse vampire indie, shot in the Persian language, offers a taste of honey amid the spillage of blood.
Sciamma’s nuanced if immersive coming-of-age drama fizzles out somewhat by the end, but her strong compassion for her characters remains resolute throughout.
It has its great moments, but Andersson’s ‘Living’ trilogy closes on a lacklustre and disappointing note.
Bold and visionary science-fiction, Nolan explores the soul of humanity in his darkest, most ambitious film yet.
An unconventional mystery-drama about the burden of personal guilt as Wang Xiaoshuai riskily pursues narrative fragmentation that ultimately rewards with a strong finale.
Polished yet brutally raw, this Ukrainian sign language film is an audacious piece of cinema.
A hip, strange, stylish, oddball-ish attempt by P.T. Anderson to capture the drug-fueled exploits of Thomas Pynchon’s eccentric detective operating in the dirty, seedy 1970s.
A drama-comedy that tells us painful truths about growing up (and old) through the kind of offbeat comedy that writer-director Noah Baumbach is synonymous with.
Has no real narrative impetus and mistakes a laidback filmmaking style for meaning-making, this modern ‘Ganja and Hess’ remake by Spike Lee is a turn-off.
A contemporary war film with such generic, by-the-numbers treatment that while assuredly directed by Eastwood, doesn’t feel interesting enough.
