2010s
A searingly authentic piece of work, Cardboard Gangsters brings complexity and surprising humanity to a world of gangsters, persuasively evoking the lives of marginalized people.
D’Inked: A Tattoo Removal Documentary delves into the world of tattoos and the people who subsequently decide to have theirs removed, showing the arduous process and how it has changed the culture of tattoos.
With sophisticated cinematography and aesthetics, The Strangers: Prey at Night and its moody semblance of survival preserves dread just enough to deserve its place in slasher cinema.
Wild Wild Country is highly intriguing, captivating its audience from the very beginning, provoking sincere emotion and proving itself to be wild indeed.
Despite some promising moments, The Vanishing of Sidney Hall never quite reaches the level of its ambition, ultimately fading in the background amongst more prominent films about the art of writing.
Japanese director Hirokazu Kore-eda’s latest film The Third Murder is a complex, rewarding legal thriller that is a notable departure from his usual humanist approach to character studies.
Relying heavily on the personal over the historical, 1985 is a gripping reminder that the social drama need not be loud and tumultuous for it to be effective.
Though it is too perfectly machine-tooled to appeal to British pensioners, Finding Your Feet is a charming and funny ride.
Most Likely to Murder may not reinvent the wheel of holiday films, but its subversion of the genre, especially its willingness to fully indict and satirize its own protagonist, gives us ample reason to invest interest in the future of director Dan Gregor’s filmography.
Director Damien Leone’s horror introduces us to the terrifying Art the Clown – it’s just a shame the rest of the movie doesn’t live up to the terrifying promise of its central big bad.
Far from the average Netflix indie, 6 Balloons is a thrilling turn for its co-stars and a promising sophomore picture for its director.
The narrative debut of director Miranda Bailey, You Can Choose Your Family, is a misjudged dark comedy that earns enough goodwill through the committed performances from its ensemble.
Midnighters doesn’t ask too much from the audience. Respectfully, it knows what it is: a popcorn thriller with style and a bit of substance, enjoyable for anyone who likes a thriller in the Hitchc*ckian vein.
Quite different from the big budget, blockbuster action films that we associate with sci-fi nowadays, Prospect is a slow-burning, languid study of people who end up at the wrong place at the wrong time, somewhere in outer space.
SXSW Review: SORRY TO BOTHER YOU: Boots Riley’s Absurdist, Existential, Surreal, Anti-Capitalist Sci-Fi Masterpiece Of A Debut
It’s hard to describe what Boots Riley’s debut, Sorry To Bother You, is actually about, because it is trippy, all over the place, and absolutely brilliant. You need to see it.