Featuring an exceptional performance by Kieran Culkin, Eisenberg writes, produces, directs and stars in this unassuming comedy-drama that was shot primarily in Poland, about two incompatible Jewish cousins on a Holocaust tour to remember their late grandmother.
This neo-noir thriller is a terrific feature debut by the Wachowskis, with its careening twists and turns, and upending of gender codes, as two women must work out a survival plan after an opportunistic ‘heist’ gone wrong.
One of the most beautifully shot movies ever made, Tarsem Singh’s modern cult classic is an ‘elegiac epic’, an intertwining of two sets of narratives about the endless imagination and despair that the human mind can experience.
To some degree an anti-blockbuster par excellence, this much maligned sequel sees the infamous villain navigating a new and treacherous psychological terrain, packaged as an unorthodox if imaginative musical-cum-courtroom drama.
An exceptional performance from Nicole Kidman sees her play a CEO drawn to playing a game of risque and risk with a young male intern, as this somewhat miscalculated film forces us to question the moral quandaries of professional and sexual domination and submission.
Ralph Fiennes is exceptional as a cardinal who must oversee the selection of a new Pope as skeletons in the closet threaten to derail the voting process, in Berger’s taut ‘mystery-thriller’ that some might feel too highly calibrated in its storytelling.
With virtuoso filmmaking on display, Ruizpalacios’ mesmerising fourth feature creates explosive drama out of the inner workings of a busy F&B kitchen in Times Square.
Almodovar’s first English-language feature doesn’t quite strike gold, but Tilda Swinton and Julianne Moore give riveting performances as two friends who haven’t seen each other for a long time, exploring themes of mortality and morality.
It may be mid-tier Ridley Scott with standard-fare storytelling, but this sequel is boosted by Denzel Washington’s scene-stealing supporting role and a gleefully gorier treatment of violent spectacle.
Humans and bugs are out to exterminate each other in Verhoeven’s much-maligned ‘fascist’ blockbuster that has enjoyed a cult resurgence, with its nonchalance and irreverence towards the pleasures of gory violence and media brainwashing satirically relevant.
Eternality Tan 