“Bryan Fogel’s new documentary about the murder of Jamal Khashoggi is unsurprisingly hard-hitting, but it’s the context for macro-scale geopolitics that ‘The Dissident’ communicates so well.”
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“The foregrounding of Mohamedou’s experiences and perspective — and, by extension, all those subjected to Guantánamo’s purpose — is the fuel in The Mauritanian’s engine.”
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“DCA is a vital part of Scotland’s cultural landscape, and arguably a nucleation point for the city’s burgeoning renaissance.”
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“‘Prime Time’ is at its most energetic and engaging during the early scenes; a setup familiar enough for any viewer of Sidney Lumet’s ‘Dog Day Afternoon’ or the many films he inspired.”
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“‘Land’ is positioned as an exploration of grief and survivor’s guilt — a crowded celluloid space – but the lack of distinctive figures renders Wright’s film picturesque but fallow.”
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“Directed by Nora Fingscheidt, ‘System Crasher (Systemsprenger)’ features a tremendous central performance from Helena Zengel, along with superb use of editing and colour.”
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“Roinsard is so preoccupied with setting up the next twist that ‘Les traducteurs’ does little to establish why viewers should care.”
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“Mahnaz Mohammadi’s tale of an Iranian mother’s dilemma render the emotional highs and lows of its characters with a naturalistic clarity.”
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“As a first feature, ‘We Are from There’ is an assured piece of work. Tanios paces the documentary well, and maintains a consistent and observant tone when it would be easier to lean on the sentimentality or urgency of the assembled footage.”
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“A sharply-shot film, ‘Brotherhood’ effectively uses the short running time to question familial responsibilities/motives, and the central performances make Joobeur’s planned feature adaptation even more intriguing.”
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Streaming Recommendations from VV’s Bill Bria, Anya Stanley, Jim Ross, Peter Bell and Q.V. Hough!
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Bait Movie Interview: Vague Visages’ Jim Ross discusses the 2019 drama film with writer-director Mark Jenkin.
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“The experimental nature of Jenkin’s production means it might take a few scenes to really get hooked. ‘Bait’ reels the audience in, however, by casting a uniquely strange line, capturing elements of old and new cinema.”
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“An efficient script and commanding central performance from Sarah Bolger produce a memorable film with mostly intelligently drawn characters.”
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“From a technical perspective, ‘Feedback’ is extremely potent for long stretches. However, in aspiring to be relevant to current affairs, the film eschews effective simplicity for confused complexity.”
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“Although ‘Come to Daddy’ slightly loses while accelerating to its conclusion, the splatter of dark comedy and dysfunctional father-son dynamics is always engaging and frequently smart.”
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