2010s
Asghar Farhadi’s Everbody Knows is a melodrama that takes itself too seriously – one that pulls in each and every direction to try and find some thematic footing, and ends up not saying too much about anything.
Despite Baker’s adept directional skills, and solid performances from the whole cast, Breath feels inconsequential, and the sombre visual and thematic tone feels like every other Australian social realist drama.
As well as getting a chance to check out witty theatrical drama The Great Pretender at Tribecca Film Festival, Film Inquiry’s Kristy Strouse also got to speak to director Nathan Silver about his film.
Director Claire Denis is choosing a more diverse range of film projects than any other time in her career – and it’s best exemplified by Let the Sunshine in, a romcom that subverts genre expectations on the hunt for true love.
17 years after Super Troopers became a modest financial success and cult comedy favourite, Super Troopers 2 sees the characters return – and nothing substantial has changed in the intervening years, for better and for worse.
95 And 6 To Go follows the Takesues in a one-of-a-kind document; exploring the family’s innately meaningful transgenerational memories.
Supreme Court justices are probably the least known about relative to their immense significance, and RBG helps to humanize one of the nine most powerful people in America.
An Oversimplification of Her Beauty is a solid stroke of inventive creativity and artistic integrity, all buttressed by a profound love and understanding of film.
Sun Dogs is a movie that doesn’t have or need a grandiose scheme – it’s about basic human connections and the desire to achieve one’s dream.
Prodigy had potential, but unfortunately, the story was rushed into production instead of being allowed to marinate and be seasoned with time.
Premiering at this year’s Tribeca Film Festival, Justin P. Lange’s The Dark is an ingenious reinvention of the zombie genre, bringing a new rage monster to the cinematic screen and exhibiting what anger and fear truly is. This is a film you will not soon be forgetting.
Director Lucrecia Martel’s first film in a decade is an opaque and potentially challenging film that is best appreciated as a purely sensory experience.
This belated sequel to Gnomeo and Juliet poorly attempts to expand the cinematic universe – and merely exposes the poor storytelling within.
Thanks to the funny and occasionally moving performances of Gould and Clement and a confident feature film debut from Hoffman, Humor Me qualifies as a passable entry into the midlife crisis sub-genre.
Redoutable is an irreverent take on the biopic that gleefully flips the bird at its subject, and takes delight in making him conform to a conventional narrative of the type he grew to detest leading to some of the finest moments of cringe comedy in recent memory.