Snowden (2016)
“Traitor, or hero?” is the question posed by Snowden’s poster, though Oliver Stone’s retelling of its titular character’s story is so firmly in the Hero camp that you wonder why they bothered asking at all.
“Traitor, or hero?” is the question posed by Snowden’s poster, though Oliver Stone’s retelling of its titular character’s story is so firmly in the Hero camp that you wonder why they bothered asking at all.
A documentary centring on Anthony Weiner’s failed mayoral campaign cuts to the narcissistic root of its subject – and politicians in general.
The simplicity of Pete’s Dragon’s story and themes alike leaves it desperately reliant on fostering a sense of childlike wonder that it can’t hold onto.
Fede Alvarez and Jane Levy’s follow-up to Evil Dead offers scares, nasty twists and insight into the twisted underbelly of American in decline.
Roy Andersson’s absurdist, absurdly-named opus A Pigeon Sat On a Branch Reflecting on Existence (the third film in a loose trilogy) is the polar opposite of the Paul-Feig-inspired mode of filmmaking dominating Hollywood comedies.
On anime, vampires, and the physicality of transgressive queerness (except, maybe, not).
In a belated effort to tap into the success of his hit TV show The Office, Ricky Gervais risks unflattering comparisons with his washed up titular character.
There’s no particular reason why this generic German crime/romance-thriller needs to be executed in a single take, aside from it making good marketing copy. It sure doesn’t make for a good movie.
The Shallows has a simple task: make sharks scary again. And it succeeds admirably, while offering (perhaps unintentionally) interesting commentary on sexualised heroines in horror movies.
Pablo Larrain’s unconventional, dizzying portrait of Pablo Neruda is reminiscent of Luis Buñuel; that’s gotta be a good thing.