It’s easy to poke fun at Appalachia and its denizens, disregarding them as simple-minded white trash with a lack of culture, but the more we ostracize and belittle a group of people, the more divided we become as a nation. This is something we’ve done far too much of as of late, and maybe this film will encourage us all to be more tolerant of others, even those considered hillbillies.
In spite of some unfortunate acting and a painfully predictable gentrification-versus-the-locals storyline, Shine is beautifully shot; packs quite a punch for its comparably small size; oozes Puerto-Rican pride; and, ultimately, does exactly what it set out to do, with the high-energy vibe somewhat making up for the roughness around its edges.
Matangi/Maya/M.I.A. is a fascinating look at one of the most relentlessly talented and unique musicians working today, and the film fits the artist. It’s raw, candid and brings with it a narrative that’s both energetic and important.
The Day of The Jackal is a tense and impeccably crafted political thriller that holds up to modern viewing, especially now that it’s received the Arrow Video treatment and has been released on Blu-ray.
The film’s greatest asset is its ability to convey the lively spirit of the conversations without feeling selective or artificially emphasizing points, beyond spare bursts of archival footage or the occasional question posed from Michell himself.
Though it puts a strong foot forward, the more I Think We're Alone Now and Del opens up to you the more predictable and meandering its vision of unconventional friendships for the end of the world becomes.
Cold Water is an absorbing, pensive look at what such desires feel like on the inside, with its handheld close-ups on faces and careful observance at objects and structures, as if to seek answers from everything in equal measure.
With his latest, maverick actor/director Shinya Tsukamoto continues his later career's exploration of more traditional genre forms examined under his iconoclast perspective with the condensed and eclectic samurai drama Killing.
Playing out more like a gender-swapped version of The Shape of Water than the Lovecraftian horror it wants to be, Xavier Gens’ latest is a visually pleasing, but ultimately empty, creature feature that, while entertaining at times, fails to evoke the emotional resonance it sets out to achieve.