Although a bit of a scaling down from his previous tech-heavy outings, Alfonso Cuarón’s Roma is nothing if not a fully realized vision: a deeply felt black and white love letter to the director’s youth, and more specifically, to the young maid who raised him. But the film lacks much in the way of insight beyond trite platitudes regarding class separation and blunt allusions to lost innocence. Cleo (Yalitza Aparacio), the younger of two maids, works for an upper-class Mexico City family.…
For the most part, Alice Rohrwacher’s third feature Happy as Lazzaro plays as yet another Italian working-class neorealist drama, this one focusing on the inhabitants of Inviolata, an isolated farming village high up in the mountains. The Italian writer-director focuses on quotidian details of these peasants’ everyday lives—daily habits, social customs, and so on—which cinematographer Hélène Louvart captures in 16mm, with a roving kino-eye that feels like it’s merely happening upon such privileged moments of existence. Even amid its generally naturalistic tenor,…
Dovlatov observes six days in the life of the eponymous Russian writer (here played by Milan Marić), beginning on November 1, 1971. That compressed timeline suggests a film of granular detail, a work attuned to the quotidian ins and outs of Sergei Dovlatov’s daily existence living under a regime which cared little for him and his fellow artists. And Alexey German Jr.’s film, though nominally an artist-biopic, is precisely that. Mostly, the camera floats languidly about Leningrad’s wintry spaces…
For Orson Welles aficionados, the director’s incomplete films have long been viewed as a kind of elusive dream — a parallel body of work to his official releases, which themselves have been distorted by various forces. Within this phantom oeuvre, Welles’s The Other Side of the Wind is the most tantalizing prospect. This is largely because Jonathan Rosenbaum and Peter Bogdanovich and Gary Graver and Joseph McBride have been talking about the film for so long that it’s come to…
Composed of six dime-store tales from the frontier — complete with color plates! — and boasting an appropriately storybook feel (courtesy of cinematographer Bruno Delbonnel, who helms this first foray into digital), The Ballad of Buster Scruggs articulates, with ruthless efficiency, Joel and Ethan Coen’s bleak, sobering worldview. The result is “downright Archimedean,” to borrow from Buster Scruggs himself (Tim Blake Nelson), a preternaturally jolly psycho-killer who wreaks gleeful havoc all over the film’s first episode.…
A suspicious charge on a credit card, a call from the bank — few among us haven’t experienced this. Mostly the notifications cause minor inconvenience, but that isn’t always the case. Set in the world of “cam-girls” — women who perform sexual acts in online chat rooms for money — Daniel Goldhaber’s feature debut, Cam, derives its horror from the all-too-real idea of a total identity theft, enacted through means of the digital world.…
In 1992, a group of teenage cinephiles in Singapore set out to make a film, gathering their friends and neighbors to assert their country’s place in the cinema world at large. That film, Shirkers, was written by aspiring filmmaker and critic Sandi Tan — whose friendship with a mysterious, married, middle-aged American ex-pat named Georges would have a lasting impact on her life. A film professor full of tall-tales and dubious motives, Georges eventually absconded with the complete footage…
Outlaw King cribs elements from every other medieval epic you’ve seen before — and that pandering is probably the point. It’s safe to assume that Netflix is backing this film in the first place because of the successes of Starz’s Outlander and HBO’s Game of Thrones; their algorithm must’ve crunched some numbers, cross-referenced demographic information, and — voila. What’s less obvious is why David Mackenzie would choose to helm this project.…
Genre fans tend to experience a palpable delight the first time they lay their eyes on a new classic, getting them thinking about the first time they saw, say, Sam Raimi’s Evil Dead 2, John Carpenter’s The Thing, John Woo’s holy trinity of A Better Tomorrow, The Killer and Hard Boiled, Peter Jackson’s Dead Alive, or Dario Argento’s Suspiria. Timo Tjahjanto’s The Night Comes for Us may not be quite at that lofty level, but damned if it doesn’t feel like it gets close.…
While bigscreen superheroes may stoke our fantasies of being something greater than we are, seeing more empathetic characters in that same space allows for an amazing amount of intimacy and discomfort. Lisa Spinelli is just such a character — a middle-aged kindergarten teacher finding little satisfaction in her well-worn routine, both at work and at home. She has a yearning for something that’s just beyond her reach: a husband who might understand her intellectual restlessness…
Gareth Evans made his name with martial arts films, but based on how shockingly violent The Raid and The Raid 2 are, it’s not surprising that he would direct his interest toward the horror genre — and its ample opportunities for gruesome viscera. Like a remake of The Wicker Man that transforms into a riff on Witchfinder General, Apostle follows Thomas Richardson (Dan Stevens) as he attempts to infiltrate an island of cultists who have kidnapped his sister.…
Silence can be used as an effective tool in any film; it helps set the tone of a scene, builds tension, and can truly convey the intensity of a moment in a way that’s equally as effective as, say, violence. Both silence and violence can also be used as a crutch, of course — a gratuitous way to raise the stakes of a situation. But in Hold the Dark, director Jeremy Saulnier wields these tools with the efficacy of a well-trained soldier, waiting patiently with his weapon for the opportune moment…