2019
There is so much going on in The Accompanist that none of the elements ever really come together to form a cohesive story.
Now available on Mubi, Ghost Town Anthology evokes the presence of a forgotten and bedeviled past buried underneath it.
In Shawn Cauthen’s Netflix vs. the World, we witness the rise of Netflix from a fledgling startup to a producer of original content that wins Academy Awards.
Boris And The Bomb not only tries to be bigger than the sum of its parts but also seems to have a lot of heart put into it, yet it never reaches the heights envisioned by its creators.
Despite Martin Eden being only two hours, it is so densely packed with a cosmos’s volume of emotion and life, that it is as epic as any Sergio Leone or David Lean film.
As Hong Kong cinema continues to evolve, a film like Suk Suk is both important and necessary in reshaping the industry’s overall identity.
At 83 minutes long, Driveways is a mini marvel because it appears so slight yet bears manifold treasures.
Transnistria is a rare gem, straddling documentary and drama to allow an intimate look at a relic of a past time.
Alice is a film that should enlighten anybody, because it’s about society as much as it is about Alice herself.
Knowing the legacy of the state Oklahoma, To The Stars turns what could have been a fairly run-of-the-mill coming of age story into a broader indictment of a state’s transcendent violence.
Anchored by Sigurdsson’s striking performance, A White, White Day explores the aftermath of a life and a marriage with an intensely introspective eye.
Brilliantly crafted, Clementine will speak to a variety of audiences, giving messages of not only understanding, but hope.
Antrum: The Deadliest Film Ever Made is an entertaining, but largely empty exercise in metanarrative and nostalgia.
Carried by Idir Ben Addi’s brilliant performance, Young Ahmed is an intriguing character study of one young man’s fanaticism, though one is still left wanting something more.