With so much to criticize in real life, it is baffling that Blue Bayou spends more time in soapy melodrama than in a timely, specific denunciation whose foundations are certainly all right there.
I come to you with the rarest of findings: a three-hour movie that knows what to do with its time.
A rich and nuanced study of familial duty, class and disability, with coming-of-age tropes to spare.
The central plot of this movie did nothing for me, but I was engrossed in the lives of the four lead characters all the same.
It is easy to imagine a good movie being made with the concept at the heart of The Woman Who Ran; I certainly had ample opportunity to, because its brief 77-minute runtime nevertheless felt like an excruciating slog.
Despite a powerful performance by Adam Driver, Annette’s unsubstantial plot, forgettable lyrics and a nightmarish doll did not work for me.
Despite its somewhat scattered nature, Dear Ex skillfully finds comedy in family drama.
Night of the Kings transports us to a beguiling world of magical realism, tales as old as times, and shadowy plots for power or survival.
What draws me about CoMix Wave Films’ style is that it is an approach to art that is deliberately, intensely devoted to portraying the mundane over the extraordinary. Ugly backdrops are made beautiful by the care put into painting them.
The Mauritanian feels like an anomaly, a movie straight out of 2003 -in content and in form- that through some mysterious phenomenon materialized instead in 2021