2010s
Living up to its eccentricity and lyrical presence, Every Time I Die extensively utilizes its piercing score and shadowy effects.
Predictable to a fault, Ready or Not is still engaging, edge-of-your seat entertainment that brings just enough gore coupled with humor.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
The losers are as compelling as before, Chapter Two successfully binds this group to its former to give fans a nuanced end.
Thoughtfully composed and steadily educational, Super Whale Highway’s reflection on the domestic duties of the humpback whale is a trip worth taking.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Monos isn’t simply a film you watch, it’s an unflinching descent into chaos in the best way possible, haunting you long after the film has ended.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
Give Me Liberty evokes a sense of timelessness and universality that permeates through every element of the film.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
Thankfully, strong cast and fan following go along way to make Angel Has Fallen enjoyable despite its director’s shortcomings.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
The Death of Dick Long might easily be the most bizarre film of the year, but it’s also one of the funniest.
Burn is a stand-off between undeniable indie individualism and psycho-thriller, without a true path.