“A surrealist bookend to his unofficial gangster trilogy, The American Soldier finds R.W. Fassbinder not only at peace with his version of cinematic grace but more cynically-minded than ever.”
“A complex study of character and mood, Gods of the Plague relies heavily on subtly-crafted and detached scenes to amass larger thematic ideas of isolation, jealousy and love.”
“Basking in drawn-out pauses and uninterrupted tracking shots, Fassbinder strives to make his audience feel a profound discomfort and delights in presenting an errant challenge to his viewers’ integrity.”
“A commanding first directorial effort from Alex Garland, Ex Machina is the product of a perfectly-tuned collaborative endeavor, much like the mind of its artificial centerpiece.”
“A Kafka-esque condemnation of Stalin’s government ham-handedly plopped into a John le Carré spy thriller, Child 44 is ambiguous cinematic fluff.”
“A plethora of likable characters and tidy wrap-ups diminish the artistic potential of While We’re Young, as Baumbach doesn’t compromise the film’s abilities as a general crowdpleaser.”
“A deeply impactful film (regardless of length or medium), Hertzfeldt’s World of Tomorrow has a penetrating gift for resplendent empathy — solidifying itself as a shining star of 2015, and one of the finest films of the decade.”
“Like a pilfered Fabergé egg, Ryan Gosling’s freshman effort, ‘Lost River,’ is a sight to behold but completely hollow beneath its bejeweled veneer.”
“A somewhat uneven protest of English nobility and a denouncement of nepotic privilege, The Riot Club’s message is a redundant one: unchecked, inherited wealth leads to problems.”