2010s
Though fundamentally flawed, De Palma’s latest film Domino offers fleeting glimpses of greatness that the iconic director once achieved.
The Proposal is a documentary that goes the extra mile portraying Jill Magid’s quest to access Luis Barragan’s archives. Frazer McDonald reviews.
Episode 3 of The Spanish Princess ups the ante with more death, ambition and romance. Katy Kostakis reviews.
I Am Durán isn’t structured in the most cinematically exciting way but it’s a story that’s excitingly cinematic.
Brightburn is a fun and thrilling experience that’s bolstered by a unique narrative and chilling performances.
Nomad: In the Footsteps of Bruce Chatwin was more a work of personal catharsis for director Werner Herzog more so than an informative documentary for us.
Crisis Hotline is upsetting, but it vividly portrays how we can’t always control the outcome. Andrew Stover reviews.
While Photograph is frequently too slow to engross yourself in, it’s unique and intriguing enough to carry interest.
Dogman stands as a uniquely moving viewing experience, reinvigorating a film movement that otherwise might seem obsolete or outdated.
Room For Rent is like the world’s worst filled donut; doughy and undercooked until you get to the sweet, jam-filled middle middle that is Lin Shaye and it’s all worth it again.
With a strong idea that isn’t executed as it should have been, The Rainbow Experiment ends up less enthralling than its titular incident.
For all of the accusations thrown around in The Reports on Sarah and Saleem, nobody can accuse this Palestinian drama of being melodramatic.
In Avengement, Scott Adkins graduates from villain status to unflinching antihero, transforming himself into a one-man trauma center.
Art is inseparable from death. This is one of the main conclusions of Abel Ferrara’s meditation on the always controversial Pier Paolo Pasolini.
The Tomorrow Man examines the relationship of two elderly people preparing for the end of days that despite its charm remains shallow.