At times packing visual panache yet also feeling run-of-the-mill in terms of plotting, Sam Raimi’s return to the superhero genre is welcoming but non-essential.
A couple’s marriage slowly disintegrates as war draws closer in this measuredly-paced drama set in the context of the downing of Malaysia Airlines Flight 17 over separatist-controlled Eastern Ukraine.
The formal rigour of its aesthetics and its slow cinema approach are at times haunting, capturing the traces of presence, disappearance and trauma in Mexico’s crime-infested rural areas, though it ultimately feels like an elusive experience without any inkling of a plot to hold on to.
Denis tackles a ‘love triangle’-type drama with brooding intensity if rather conservatively, featuring two showy performances from Juliette Binoche and Vincent Lindon.
Rather underwhelming and at best a minor effort, Hong’s latest explores the nature of being an artist, be it writing, filming or performing, while also functioning as a genteel love letter to his star and muse Kim Min-hee.
Bonello’s new ‘pandemic lockdown’ film is difficult to pin down—it’s disjointed yet free, disturbing yet human, as it experiments with form, content and aesthetics with varying results.
Solid and immensely well-crafted if a little too plotty, this Batman channels the dark energy of serial killer, vengeance and torture porn films while, for better or worse, keeping a lid on its bold and perverse aspirations.
Eternality Tan 