“The style of 88:88 has been compared to Jean-Luc Godard, specifically his recent projects like Film Socialisme (2010) and Adieu au langage (2014). What sets this film apart from Godard is an intimacy approaching a breach of privacy.”
“As the music industry continues to evolve and both Dr. Dre and Ice Cube remain icons of the entertainment industry, Straight Outta Compton serves as a reminder of underground mentality and how a simple idea can change one’s life forever.”
“Even seasoned film writers struggle to put into words the enduring appeal of Hong Sang-Soo.”
“Masculinity has been the love-theme of this year’s edition of Locarno, and Chevalier further indulges in the dank impulses and fragility of the male ego.”
“Morley pushes the film’s “mystery” beyond any audience guessing games to a level of bewilderment above any useful analysis, leaving viewers in a state of excited shock.”
“Cosmos feels more like a parody of Zulawski’s work than a larger part of it.”
“Matched by the acrobatic ferocity of Ferguson’s Faust, Cruise’s antics transform Rogue Nation into an explosive Cirque du Soleil performance on the grandest of scales.”
“Throughout Unexpected, little is ever gained or lost, ultimately raising the question (albeit a rather absurd one when considering film): for whom was this made, and what is its intended purpose?”
“In choosing to cover so much breadth of ground, Felt falls well short of any meaningful examination of the gender issues plaguing American and world culture.”
“The tender performance of McKellen, as might be expected, is a reliable anchor keeping things afloat; the actor seemingly relishing a major turn free of mutants and wizardry — a fantasy icon on fine form as a man not fond of the fantastic.”
“A BBC Films production from the minds of Outnumbered, What We Did on Our Holiday often looks and feels like an extended sitcom episode rather than a film.”
“An interesting, indie-minded horror, Creep’s simplicity adds to its effectiveness as a taught, jarring film.”
“Charlie Manton (The Imitation Game) shows incredible promise as a filmmaker with Beneath Water, as the visual techniques and character staging project someone in command of their own personal style.”
“Billed as a comedy about sex, Josh Lawson’s The Little Death only manages to explore a small margin of the current sexual landscape.”
“A subdued comedy with some truly inventive gags, The Strongest Man is the culmination of an original voice on the rise more than the triumph of a writer-director already on top.”
“It’s an era epic that’s both euphoric and melancholy, riveting despite running on the ever fleeting. It’s the new best film from one of the world’s greatest new directors.”
“Despite the well-worn territory and jumbled narrative, Dope is proof positive that Hollywood needs diversity and needs it NOW.”
“Seldom more than a vehicle for Pacino to exercise his considerable (and still active) talents, Manglehorn is a string of engaging and breathtaking images that, when strung together, become a subdued meandering plot devoid of any real meaning.”
“The film is nothing if not an audacious directorial debut; a grand, horrifying cinematic mission statement that might particularly appeal to the likes of Michael Haneke and, especially, Gaspar Noé.”
“Through a series of seemingly sensual vignettes, the director hides the passion that her protagonist so desperately wants, and its this absence of feeling that unveils a misguided and disillusioned woman.”