2010s
The Last Race is a beautiful documentary that is, able to move between overtly stylized and ethnographic motifs while still remaining a unified piece.
Welcome Home has a melting pot of possibilities, preying on human fear, but much like its local creep, it skulks when it should attack.
Jonathan is a rare and affecting fair, as tenuous as life is, especially when there’s a divergence within your own skin.
Hale County This Morning, This Evening is a staggering achievement of filmmaking, and an essential American text.
Green Book is an easygoing film about difficult issues, and that dichotomy will rub many people the wrong way, but will charm others.
Transit finds Christian Petzold on the same end of the telescope as his previous films, but looking through a more sophisticated, evolved tool with a wider view of the medium.
With the strong talent behind the film, it isn’t hard to find things not to enjoy about the Stella’s Last Weekend.
Though an honest take on dating today may be In a Relationship’s aim, the lack of tension in how it explores the landscape leaves the relationships limp, flat, and more predictable.
The Wild Pear Tree is a character study so richly detailed, the audience is left feeling like we’ve actually spent time with such an insufferable individual once its all over.
The Crimes of Grindelwald introduces us to a plethora of new characters, attempts to do too much with them, and then, unfortunately, overly relies on the nostalgic factor of the original films.
Whereas kids might dismiss Ralph Breaks the Internet’s flaws for an uplifting swirl of inconsequential sugary adventure, adults might be hard-pressed in their quest to find nutritional value.
Zhang Yimou’s Shadow is a different beast to Hero and House of Flying Daggers – but is every bit as essential.
Beautiful Boy is a simple story of a dying boy and his father’s desperation, and a complex addressing of the difficulties in achieving sobriety.
Australian comedy Book Week provides an intriguing look at a man in peril and examines the place of literature in a contemporary context.
Led by a sheepish Daisy Ridley performance, Ophelia, a revisionist take on Hamlet, doesn’t have the feminist credentials it thinks it does.