2010s
Army of One could have been a lot of different things, with plenty of room to shock and titillate fans of Larry Charles’ usual propensity for visceral subversions of cultural norms. Instead, the movie falls flat as a conservative piece of biographical fiction.
I Am Not Madame Bovary is highly critical of Chinese bureaucracy, both using the plot to highlight its inability to care about anything other than their job position, as well as poking fun at the workings of officialdom with the conversations between the officials themselves.
There is a story with immense emotional depth within Toni Erdmann, but the movie is so frequently dull, when the moments of comedy arrive they can feel somewhat cynical.
The New Man is a fascinating insight into modern fatherhood, male identity, cultural expectation and the torturous path of late parenthood.
Arrival shows up where the crowds would expect it to, in the emotional department. But upon further analysis, the film lacks the wit or width for uncertainty, and it has only one dimension to offer as entertainment.
The humor in Capture is one of its best qualities. This isn’t the humor that comes from telling a good joke, but rather from the spontaneous situations that the people find themselves in.
Ti West may be best known in the indie horror circuit, yet with In a Valley of Violence he has proven that he has additional genres up his sleeve.
Julieta is an earnest drama and has been noticeably billed by Almodóvar himself as his welcome return to the “cinema of women”.
From director Brian J. Terwilliger comes the National Geographic documentary short, Living in the Age of Airplanes. It was an easy sell for me, as I’ve enjoyed numerous aviation and spaceflight documentaries tailored for “edutainment”.
Mindhorn, the debut feature film from theatre director Sean Foley, has one hell of a concept that has been created as a Frankenstein’s monster, taking bits and pieces from other British cult comedies from the last two decades.
The Handmaiden is director Park Chan-wook’s most explicit film to date, if only in its portrayals of warped male sexuality contrasted with the comparatively emotive sexuality of women.
Almayer’s Folly is deeply artistic and clearly rooted in Ackerman’s vision, but unfortunately due to a lack of characterization, it’s hard to sympathize with any of the characters.
The brave Rwandan women and the inspiring conclusion of The Uncondemned make it a heartbreaking, human, and empowering watch, and it reveals an important part of forgotten history.
A United Kingdom has plenty of flaws, but more than makes up for them with a heart and an affection that is utterly intoxicating.
If you are looking for a pleasurable and visual exciting crime thriller from a cinematic legend, you should definitely give Dog Eat Dog a try.