drama
The Unknown Girl sees the directors yet again flirt with their beloved recurrent theme of criminality, here taking their most overt detour into procedural thriller territory to date.
All We Had tells the story of a homeless woman and her daughter and their struggles of having to refind a place in the world for themselves.
Anonymous is a film based on computer hacking, yet, with a less than subtle focus, it feels much like a tamer version of the show Mr. Robot.
With Allied, yet another volume has been added to the overflowing pile of wartime films. Though with the talented Robert Zemeckis at the helm, it seldom showcases his trademark focused and proficient direction, which is therefore not enough to raise the film above its many aching flaws.
Fantastic Beasts is a mostly satisfactory return to the world of Harry Potter, though it also suffers from confused and muddled plot-lines.
Graduation, Mungiu’s fourth film as director, is yet another example of how he masterfully weaves an intimate character drama into an intelligent commentary on injustices in Romanian society.
Cents is a film about a teenager attempting to find her identity; though not without its shortcomings, it is a refreshing and admirable film.
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 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.
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.
Some films just break your heart. They wheedle their way in with a warm embrace, and find a way to really stay with you, leaving you with deep a sense of loss, and yet, gratitude. A Death in the Gunj is one such film.