SHORTCOMINGS is a title that almost invites criticism, but this easygoing look at relationship difficulties has more strengths than weaknesses. It doesn’t default to feelgood safety, and has flawed characters that don’t undergo magic transformations.
With THE ROYAL HOTEL, Kitty Green has once again shown that she can strike a perfectly pitched tone, knowing exactly how she wants to escalate tension, whether it be from female powerlessness at the hands of predatory executives or the roaring, blistering diatribe spat from the drunk mouth of an average man.
KILLERS OF THE FLOWER MOON achieves a delicate balance and underscores the dysfunction of America as a result of the pursuit of wealth; the warping of ambition into exploitation, ingenuity into criminality, and dreams into delusions.
Schubert spoke about turning 30 while touring the biggest film of his career so far in AFIRE, auteur director Petzold casting him specifically, and the curious introspection that Leon is bringing to a subset of audiences.
HOARD has some elements which could be tidied up. Still, the sum of this precarious pile of performances, imagery, and characters is a film of deep-rooted emotion and a beautiful mess by design.
PENAL CORDILLERA delivers on its intriguing premise with a close examination of the characters of arrogant, formerly powerful men.
The joy of watching motorsports is seeing the fiery passion that burns in the soul of everyone taking part, and racing fans know when they see that exact triumphant feeling. Sadly, FERRARI fails to capture that passion.
FAIR PLAY may not be as smart and original as it initially seems, but the momentum, central performances, and cranked-up drama deliver an engrossing takedown of fragile male entitlement and the roles many inhabit to advance despite it.
FREMONT rarely puts a foot wrong, even if the walking speed is meandering to the point of dallying.
Connor Lightobody talks to Charlotte Regan about Scrapper at EIFF 2023.
