The finest film Farhadi has put out in years—here he skilfully draws out a complex, delicate drama with weighty themes of morality, truth and honour from a simple premise: a debt-ridden prisoner and a bag of gold coins.
PTA’s indelible 1970s romance between a teenage boy and an older woman (Cooper Hoffman and Alana Haim are sensational) is akin to a cinematic relaxant, suffused with good, nostalgic vibes yet there’s enough of a slight overdose of unpredictability and peril to last the course.
A gentle, heartfelt and beautifully-shot piece about why movies inspire us, from the point-of-view of an inquisitive village boy who befriends a 35mm film projectionist.
Spielberg, in his first-ever musical, hits it out of the park with this dynamic and compelling remake of the 1961 original, featuring a revelatory performance by Rachel Zegler.
A charming little film by Sciamma, who gives us two child performances to savour in this subtle, magical realist take on the inseparable bonds between mothers and daughters.
Although not exactly emotionally resonant, Joel Coen’s adaptation of one of Shakespeare’s seminal texts is as dark and brooding as they come, a unique balance of theatrical artifice and cinematic vision.
Scott’s work is an odd beast of melodramatic excesses—a largely lumbering biopic yet cold and campy enough to just about work as an unintended ‘tragicomedy’.
This is the worst ‘Matrix’ by miles—a tediously talky, muddled mess of meta-recursive ideas that dilutes the mythology that made the trilogy, flawed as it may be, such a blast.
The tick-the-checkbox fan servicing approach is a mixed bag—the nostalgising can be oddly satisfying but the storytelling ironically feels regressive in the very construct designed to entertain a range of creative possibilities.
Anderson’s weakest in a long while despite the indelible images and precise mise-en-scene which he is so good at—there’s hardly any character worth resonating with, and the stories are way too dry and lack sentiment.
Eternality Tan 