drama
Alexander Payne’s films are diverse yet also share similar directorial trademarks, including the focus on middle-aged, neurotic protagonists, loss of a loved one, existential crises, and more; here is a rundown of his more than two decades in the industry.
Though containing some elegant set design and impressive cinematography, Murder on the Orient Express can’t quite intrigue you to the potential that it could’ve, due to underdeveloped characters and an anticlimactic final reveal.
From France, Nocturama is an unusual film about disillusioned teenagers that commit an act of terrorism; unsurprisingly, it provides no easy answers.
Diane Kruger carries In the Fade on her leather-clad shoulders and ensures that you’ll walk away from the film feeling absolutely rattled.
Edward Scissorhands is one of those rare films where everything, every single aspect came together perfectly to create “movie magic”.
With impeccable direction, engaging dialogue, consummate costume and makeup, and one of the best performances ever to grace the silver screen by Oldman, Darkest Hour is an overwhelming achievement.
The Shape of Water, Guillermo del Toro’s 10th feature, is loaded with qualities to praise, including beautifully-lit cinematography, a haunting score, and exceptional performances, but as a whole it’s not quite as impactful as it could’ve been.
The Breadwinner’s captivating aesthetic, heroic protagonist, moments of levity and weighty themes aid in drawing in youngsters and teaching them about the hardships faced by their peers on the other side of the world.
We spoke with Sean Meehan, director of short film Lost Face, based on a Jack London short story, set in frozen mid-1800’s Russian-America.
Gold Star is a refreshingly intimate first-time film from director Victoria Negri, with a beautiful story about losing a loved one.
With a story full of surprising twists and turns, a canvas of dazzling onscreen visuals, and a career-best performance from Middleditch, Entanglement succeeds on several tiers.
While produced with sumptuous care, Youth’s Spielbergian desire to over-sentimentalise every scene makes it more frustrating than affecting.
From 2008, French film A Christmas Tale offers a different type of holiday film – one that is melancholy, depressing, and yet also intriguing.
Félicité contains some of the most powerful moments of any movie this year, yet never quite amounts to the sum of its impressive parts.
Heavily reminiscent of Michael Haneke’s Funny Games, Chameleon boasts three great performances – but still leaves a sour aftertaste.