Thoughtful violence is created in both DRIVE and YOU WERE NEVER REALLY HERE through each director’s meticulous attention to detail through music, visual symbolism and tight editing. Nancy Epton on the approach of Lynne Ramsay and Nicolas Winding Refn.
The wuxia pian, the Chinese martial arts film, seems just as vital today as it did in the days of King Hu. Zhang Yimou’s SHADOW shares a good deal in common with HERO, if not quite assuming a role as its equal. Marc Nelson reviews.
Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips’s film is a Batmobile with the engine of a clown car. Jim Ross reviews.
UNE FEMME DOUCE (1969) features one of Robert Bresson’s sharpest, bluntest images on the degradation of the spiritual. Marc Nelson reviews.
Wong Kar-Wai’s IN THE MOOD FOR LOVE lingers with the viewer after they have seen it. For some that could be because of the melancholic story, for many it is most likely because of the beautiful cinematography, or it could be a song that features throughout the film and seeps into your skin.
APOCALYPSE NOW deserves its cult status. But it is a film where the journey is more interesting than the destination, writes Alice
The bond between two womencrackles with a pure, genuine quality in Benjamin Kasulke’s BANANA SPLIT.
To millions around the world, Elvis Presley is known as ‘The King of Rock ‘n’ Roll’. But what if he was more than that? What if music wasn’t the only medium he impacted and he was, in fact, a fully-fledged cult film star? Lewis Brindle ponders.
THE NIGHTINGALE redefines all preconceptions you have about horror films and sheds a harsh light some of the most disturbing and untold aspects of colonialism in Australia; the most nauseating of which is the truth that lies within them. Director Jennifer Kent is a detailed and masterful storyteller, painting the film with the same skin-crawling … Continue reading The Nightingale
The problem of desire troubles each and every one of Claire Denis’s films. Marc Nelson considers this through three films in the legend’s filmography.
