Viggo Mortensen
Mukdeeprom and Howard make Thirteen Lives an entertaining and emotional translation of a major news event that captured the world.
In Crimes of the Future, the horrors and beauty of the human anatomy, both inside and out, are a work of grotesque art and performance.
A deep dive into the not-so-distant future in which humankind is learning to adapt to its synthetic surroundings.
Green Book is an easygoing film about difficult issues, and that dichotomy will rub many people the wrong way, but will charm others.
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
In Green Book, a working-class Italian-American bouncer becomes the driver of an African-American classical pianist on a tour of venues through the 1960s American South.
To title your film with the superlative ‘Fantastic’ is playing with fire. Firstly, in this age of Marvel’s silver screen domination and DC’s valiant attempts to catch up, it would be understandable for any jaded cinema-goer to skip this one, expecting another facile, spandex-clad superhero epic; secondly, if it fails the headlines write themselves, and every movie critic worth their salt would crowbar in a reference to the irony of the film’s title. Luckily, Matt Ross’ sophomore effort Captain Fantastic, following 2012’s 28 Hotel Rooms, will have few critics drawing knives, and anyone eagerly searching for an antithesis to the recent barrage of superhero blockbusters in cinemas will be satisfied, if not delighted, when the credits roll.