Occasionally too plotty and maximalist in style for its own good, but it is no doubt a stunning sequel with loads of sci-fi spectacle and intrigue.
Continue reading →
Occasionally too plotty and maximalist in style for its own good, but it is no doubt a stunning sequel with loads of sci-fi spectacle and intrigue.
One of Cronenberg’s very best films, this is a peak culmination of his body horror exploits with a rare emotional and human core to its storytelling.
Carruth’s sophomore feature possesses a Nolan-meets-Malick vibe, done in an impressionistic indie style, as an inscrutable sci-fi romance plays out across time, memories and bodies.
More deliberately paced than expected, Haynesโ tabloid-ish melodrama doesnโt quite land that well narratively or emotionally, though it features strong performances throughout.
Soderbergh’s half-decent iPhone-shot ’90s style psycho-thriller induces paranoia and discomfort through its constricted visual style, and backed by a terrific performance by Claire Foy.
Sporadically engaging despite the palpable sense of veritรฉ-style American indie filmmaking as a newly divorced woman finds herself stranded and exploited by men in this sole feature by Barbara Loden.
Soderbergh returns with an offbeat heist comedy featuring strong performances, but one that half-grooves and half-plods along.
A tad more exciting and invigorating than the first instalment, and one that poses existential questions about the heroic quests of the titular figure(s), this is a continuously inventive and surprising work of blockbuster animation.
Another showcase of the acting powerhouse that is Gena Rowlands with Cassevetes exploring the theatre milieu as the lead actress of a highly-anticipated play becomes bugged by existential guilt and disenchantment.
In what could be a surprise package for the 2024 Oscars, Payneโs new work features some of the most finely-tuned performances of the year as a cranky old teacher is forced to take care of a problematic student on a remote campus over the Christmas holidays.