Film Reviews
Legend of the Berlindale Film Festival, Satyajit Ray’s award-winning 1966 Indian drama The Hero (Nayak) showcases the filmmaker’s talents.
Wildfire is a commanding calling card for Brady, showcasing kitchen-sink realism and a powerful portrayal of sibling heartbreak.
It embodies the theory of a movie’s intricate parts, and bit players function initially as individualistic entities that coalesce into a collective.
Cherry wants to be a movie about tragedy and weighty thematic issues but is too concerned with showing off for points on a scoreboard.
Xavier Beauvois’ Albatros starts off as a low-key police procedural drama before transforming into a generic meditation on guilt and grief.
Happily breathes new life into a story we have seen too many times through its unique twists to the classic structure and charming performances.
Using found footage, Ignacio Ceroi builds a poignant dwelling on the contemporary nomad that beautifully conveys a man’s existential quest.
Monster Hunter is a relic of sorts, where the guts and action, unrefined and tawdry as they are, are at least based on a genuine creative impulse.
One hopes that this new restoration reignites interest not just in the film, which is an absolute masterpiece, but in the career of Ruan Lingyu.
Hamilton Sterling’s Absent Now The Dead gives an avant-garde look into the world of the ancient Greeks and the Trojan War.
Monkey Bars is a must see short film with with its atmospheric, evocative score that adds to the anxiety of its scenes.
While the details and historical recreations are impeccable, Andrei Konchalovsky’s Dear Comrades! remains emotionally unmoving.
Wearing its influences on its sleeve and a love letter to horrors of the past, Awoken is a sharp little horror movie with bite and shocks.
Overall, John Smith’s Citadel is a perfect cinematic reflection of the difficult 2020 that the British public dealt with.