The Good Boy
Despite its allegory that is as blatant as an audience might expect, THE GOOD BOY packs in a surprising amount of affecting moments, and the knowledge England’s Good Boys can only be raised by Good Systems.
Despite its allegory that is as blatant as an audience might expect, THE GOOD BOY packs in a surprising amount of affecting moments, and the knowledge England’s Good Boys can only be raised by Good Systems.
MICHAEL will inevitably attract ire with its depiction of Jackson’s life, or, more accurately, what it seems to omit. However, MICHAEL is also an inexplicably boring film which is bland at best and cowardly at worst.
OMAHA might not employ the most thoroughly crafted methods by grabbing the heartstrings in its fist, but the cast’s performances capture an honest empathy that is difficult to put aside. And maybe you shouldn’t.
EXIT 8 leans a little too heavily on [the ‘liminal space’] aesthetic to remain fully engrossing for even the succinct 95-minute runtime, but the film finds its way much faster than The Lost Man did.
Visually dynamic and elegantly crafted, Damiano Michieletto’s PRIMAVERA is a compelling study of repression, suffering and earnest rebellion.
Director Julian Lautenbacher [shows] bravery in choosing queer identity and dance as his documentary’s expression of resistance to the Russian invasion of Ukraine.
A dose of Polonium-210 already begins to feel inviting a mere half hour into the prolonged 136-minute runtime of THE WIZARD OF THE KREMLIN.
Even though WASTEMAN’s brutal narrative isn’t anything novel, it possesses a freshness courtesy of McMau’s first time behind the camera, added to the debut screenplay from newcomers Hunter Andrews and Eoin Doran.
Even if DEPARTURES leans heavily on its influences before it establishes what it wants to say, there are enough novel angles and flourishes that its bolshy Mancunian voice is clearly heard and worth listening to.
THE DRAMA renders philosophical thought experiments as tangible personal relationships. The film is both fiendishly juvenile and thought-provoking, with Kristoffer Borgli’s black comedy approach harmonising these two qualities.