Bogdanovich’s best-known work and one of New Hollywood’s most elegiac films, this is a deeply felt early ‘50s portrait of a dusty old Texan town fading away along with its downtrodden characters.
A wonderful tribute and starting point to explore one of American silent cinema’s greatest exponents, judiciously put together by narrator-director Bogdanovich.
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, Haynes’ tabloid-ish melodrama doesn’t 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 verité-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.
Eternality Tan 