Yorgos Lanthimos, a Greek director and screenwriter, is known for his unusual and obscure films, renowned for their sheer originality.
With finely tuned performances, The Man With Four Legs is also a visual treat, working within a genre that is often difficult to define.
The Last Laugh is a profound documentary that somehow warmly weighs the need for laughter with the immense tragedy that was the Holocaust.
Lost Cat Corona is a film that is occasionally funny, yet suffers from underdeveloped characters, which makes it hard to remain invested.
The Comedian boasts a few laughs and a fine performance by Robert De Niro, but the remainder of the film is a rather listless venture.
Girlfriend’s Day is a film that is occasionally funny, yet it tries to ambitiously blend multiple genres, in a way that only partly works.
Ricky Gervais’ feature length outing for his most beloved character is one of the most emotionally poignant comedies in recent memory.
You’re Killing Me Susana doesn’t adhere to almost any of the rom-com genre’s stereotypes, yet its static characters cause it to stumble.
Road to the Well has redeeming qualities, including fine acting and cinematography, yet it falls short of greatness from its lacking story.
T2 Trainspotting, though enjoyable in its own right, ultimately relies too heavily on nostalgia for the original to be a complete success.
The Cornetto Trilogy are not only some of the funniest films this century, but they also convey important themes about life and maturity.
Paterson is informed by the rich tradition of American poetry and modelled as a gentle meditation on the minutiae of artistic life.
Office Space is a film that pokes at the small moments that we all deal with on a daily basis, making them funny in a relatable way.
Elaine May had a run of successful films in the ’70s and ’80s, yet she remains an underappreciated director and writer in the industry.
Prevenge is a film about revenge from the womb; it succeeds both as a satire of how pregnant women are seen and as a hilarious comedy.