There’s both a sense of energy and listlessness to the filmmaking, with a story or two waiting to pop out, but that never materializes through the course of this sprawling, ambitious road movie.
Oscar Isaac headlines this low-key, slow-burn thriller about a poker player with a haunted past, directed with the minimum of fuss by Schrader.
There’s a case for this to be Malick’s opus – it may be slow-moving but will be rewarding for anyone willing to enter a personal journey with the director as he attempts to lift us into a spiritual realm of meaning and purpose.
This is an extraordinary documentary about an even more astonishing feat of mankind—the landing on the Moon in 1969—primarily using archival footage, some never seen before, as it details the still mind-boggling journey, one suspenseful step at a time.
Truth is the weakest currency in Ridley Scott’s generally solid stab at a Rashomon-esque historical epic set in medieval France during the Hundred Years’ War.
More educative than cinematic, Herzog’s documentary about technology, particularly the affordances and perils of the Internet, lacks the cutting-edge incisiveness of more well-developed treatises on the subject.
Certainly not one of Malick’s best, but this extraordinarily beautiful film—in its 172-minute extended cut—sees the director at his most lyrical and self-indulgent.
Largely critically-derided when first released, this violent and erotic nightmare gleefully explores male guilt and fantasy, one that now makes so much sense in Lynch’s terrorising world of weird-ass folks with weird-ass obsessions.
A rather bloated effort despite the generous and intense servings of action, this is a half-decent final outing for Daniel Craig’s Bond.
Arguably Terrence Malick’s greatest work – a masterpiece of light and darkness, calmness and brutality, and the intertwining of both, in this singular war film.
Eternality Tan 