The Founder is a solid, by-the-numbers biopic. It’s hard to be bored by it, but equally hard to be deeply moved by any particular element.
Wonderstruck is cinema of form. By depriving the actors of their voices, the director directs our attention to the image as the carrier of content and...
Although in Little Joe the puzzle is not all that difficult for the viewer to solve, Hausner’s film remains unusual cinema and a refreshing genre offering.
The Breadwinner is demanding cinema and an important voice addressing an important issue.
A sadist, a brute, an executioner, a criminal, a cold-blooded primitive. It’s hard to like the protagonist of a film Pieta by Kim Ki-Duk.
Silent Twins operates on several generic and stylistic levels. Horror sits alongside psychological analysis; animation corresponds with a coming-of-age story.
Close is piercing, eye-opening cinema—cinema of humanism and catharsis. A shining pearl that everyone should fish out of cinema repertoires.
Coraline is a psychoanalysis of its main character—an intriguing translation of her fears, needs, and fascinations into the language of symbols and metaphors.
Pinocchio accumulates precisely these unwanted images and emotions. It is a children’s animation with the potential of a chiller.
Toy Story was a grand opening for modern family cinema. Pixar’s film cut itself off from the Disney fairy-tale tradition.