Ad Astra Offers an Aching Examination of Masculinity’s Failures
Ad Astra is an astonishing achievement.
Widows: The Genre Film That Isn’t
But Widows exhibits cosmetic similarities with the heist genre, it resolutely resists generic conventions.
Stop Making Sense (1984)
Stop Making Sense builds from a sparse stage and a cassette player into a triumphant, celebratory kaleidoscope of music and backup dancers and ridiculously oversized menswear.
Paddington 2 (2017)
Keaton, Chaplin, Tati, Lloyd – and, now, Paddington Bear.
Call Me By Your Name is a Sticky, Slick, Impossibly Sweet Masterpiece
Call Me By Your Name is less a love story than a cinema of sensation: the tenderness of touch, the sheen of sweat, the cool calm of water.
BIFF 2017: Song to Song
Terrence Malick’s latest feature, Song to Song, clarifies the experimentation of his previous two films.
The Red Turtle (2016)
The Red Turtle is imbued with the resonant power of a creation myth, thanks to the simple yet expressive animation, the naturalistic sound effects, the swell of the vast ocean.
Moonlight (2016)
Moonlight: the poetic breaking through the quotidian in carefully-considered yet intuitive gestures.
The Alluring Ambiguity of Olivier Assayas’ Personal Shopper
Personal Shopper offers a challenging reflection upon identity and spirituality, enriched by Kristen Stewart’s extratextual resonance with its themes. Also, there are ghosts.
I, Daniel Blake (2016)
This year’s Palme d’Or winner illuminates the injustice of English welfare with slender rays of humour and humanity.
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