Continue reading →Good but not great, Farhadi’s Spanish-language effort is rather too elaborate in plotting, but still serves up a largely engaging mystery with delectable performances.
Tag / 2018
Rona, Azim’s Mother (2018)
A well-acted piece centering on a refugee Afghan family living in Iran with an ailing matriarch that naturally if solemnly captures their predicaments.
House That Jack Built, The (2018)
Continue reading →The Danish provocateur returns with an extremely violent and nihilistic work, one that is nasty yet utterly fascinating at the same time.
Leave No Trace (2018)
Continue reading →Tender and heartfelt in the most unassuming of ways, this father-daughter tale boasts two extraordinary lead performances in Ben Foster and Thomasin McKenzie.
22 July (2018)
Continue reading →This could be Paul Greengrass’ weakest picture in a long while—a less-than-invigorating work centering on the 2011 Norway terror attacks that struggles to get into any kind of momentum.
Shoplifters (2018)
Continue reading →Not his very best, but Kore-eda has an intuitive way of working with children, and this ensemble piece illustrates with delicate ease the filmmaker’s longstanding preoccupation with relational dynamics within the family unit.
Third Wife, The (2018)
Continue reading →A sensual debut feature from Vietnam that explores the impact of an ultra-patriarchal community on its sufferable women, with beautiful and naturalistic cinematography to boot.
Sunset (2018)
Laszlo Nemes’ second feature sees him reprise his “Son of Saul” technique—the long-take closeup in shallow focus—on a sprawling period drama, but with varying results.
Night Comes for Us, The (2018)
For genre fans only, this nauseatingly violent and gory organised crime slice/shoot-‘em up delivers what it promises.
Dead Pigs (2018)
Continue reading →Clearly an ambitious first feature, and it mostly hits the right spots in this ‘Magnolia’-inspired ensemble drama about China at the crossroads of modernity.
Eternality Tan 