war
Chichinette: The Accidental Spy pays homage to a hero while also reminding us that while World War II may be many decades in the past, the time for leaders such as Marthe Cohn is still now.
The Warrior Queen of Jhansi displays well the difficult position of Ranibai of Jhansi, with a respect for her cleverness and leadership while acknowledging her faults and mistakes.
Just as A Hidden Life is arguably Malick’s most directly religious film, it is also his most directly political and possibly by virtue of its subject matter, least poetic.
1917 is a vision of uninterrupted chaos, equipped with a unique blend of personal pathos and visual bravado.
Between bad dialogue, acting that feels as undeveloped as the characters, and an unfocused story, it’s no wonder Midway feels like a drag.
The Report is deserving of every ounce of praise it receives on its performances, accuracy, and commentary, but getting through the film is a bit of a slog.
While it does contain so interesting moments to keep you attention, The King is not worthy starting in the first place.
In his latest report from Film Fest 919, Josh Martin reviews Jojo Rabbit, Motherless Brooklyn and The Report.
Porco Rosso is a film beaming with silliness and warmth, while also being tied and grounded in a particular human timeframe like very few Miyazaki movies can boast to have.
A letter to love each other by looking to the past through the eyes of a child, Jojo Rabbit is as ridiculous and audacious as it is sweet and charming.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Through a woman’s point of view and an unconventional definition of politics, For Sama proves more powerful and significant than many of its peers.
The Oscar-nominated Never Look Away shows signs of promise, but is let down by an epic scale that is never justified. Alistair Ryder reviews.
For all of the accusations thrown around in The Reports on Sarah and Saleem, nobody can accuse this Palestinian drama of being melodramatic.
Francis Ford Coppola’s Apocalypse Now, was the movie no one wanted to make. 40 years later we helped celebrate his masterpiece at the Tribeca Film Festival.
