For all the exclamations that this latest picture marks ‘Terrence Malick’s return to form,’ or, more grossly, that ‘Terry’s back!’ Marc Nelson counters with this: he never left.
Brimming with anxious energy, Josh and Benny Safdie’s latest feature is a densely packed medley of memorable lines, characters and debut acting performances. Reminiscent of their previous outing – GOOD TIME – UNCUT GEMS nevertheless applies the anxiety-inducing approach polished there in new and interesting ways. Adam Sandler leads as Howard Ratner, a jeweller in … Continue reading Uncut Gems
Greta Gerwig’s adaptation of Louisa May Alcott’s novel is a moving and fresh tale with an expertly handled tone. Jim Ross reviews.
The surface pleasures of MARTIN EDEN are profound in themselves, but the pleasure they provide compounds when you realise that surface itself is a tissue of lies. The screenwriter Maurizio Braucci described the film, with a shocking eloquence, as “a dream of the twentieth century”, and it’s difficult to express how accurately the phrase represents … Continue reading Martin Eden
In BEANPOLE, spaces are rendered with a genuine beauty, in composition, in colour, in light. The film holds an intense sympathy for its characters in balance with a need to be honest. Marc Nelson reviews at LFF 2019.
IT MUST BE HEAVEN is Suleiman’s funniest film, the comedy laced up with his elegant, rebarbative vision.
All human life is in SO LONG, MY SON – as well as a fascinating insight into Chinese life in a time of social upheaval.
Gray’s cinema, for all its motifs, perfect shot- and sequence-making, musical movements, and technical daring, is a cinema first and foremost of direct emotional sincerity and force. Marc Nelson reviews AD ASTRA.
UNE FEMME DOUCE (1969) features one of Robert Bresson’s sharpest, bluntest images on the degradation of the spiritual. Marc Nelson reviews.
FrightFest never fails to illuminate the creative genius of the horror genre, and it also provides a glowing platform for new filmmakers. Jack McHenry may only have one feature to his name, but the aesthetic brilliance within his debut film HERE COMES HELL pays captivating tributes to the vintage eras of Hammer House, Tourneur’s Noir, … Continue reading Here Comes Hell