City Of Gold (2016)
"Affably unpretentious but always grandly informed, Gold opines and divines his way across a complex city that he explores in unique and exemplary fashion. All critics should know their beat so well, and love it truly. Plus, tacos. "
The Bronze (2016)
Knight of Cups (2016)
" Houses of memory, successive sensations in recollection. Gorgeous and singular, Knight of Cups is a vision. A terrifying one, sometimes rapturous, but tactile with fierce, lingering melancholy, an emulation of the cruel patterning of the brooding mind."
Cemetery of Splendor (2016)
A War (Krigen) (2016)
"Toils again in a stripped-down, situational urgency suggested by his titles: sleek yet functional, sometimes jagged yet classically composed, vital yet keeping the temperature below the melodramatic range. "
Rolling Papers (2016)
Eisenstein In Guanajuato (2016)
"Greenaway has shown little fear in the past of depicting conflicted sexuality and explicit male nudity and homosexual activity, so why stop now? Dialogue remains a blunt instrument amid Greenaway's superlative, ever-innovative visual palette."
"Where is love? Within a brightly appointed suburban home, the spirit and the flesh: every character is alive and so gently fearful of what moment may pass after this one. Tone matters... Bright, bumptious and loving,"
The Witch (2016)
"Atmospheric roundhouse-punch horror... This wilderness seethes, Malick with malice... The atmosphere bristles: this is The Revenant with stakes, higher stakes than the accursed soul of a single man seeking vengeance."
In The Shadow of Women (2016)
"Sweet shimmering sliver of romantic regret... he demonstrates through jealousy that you only ruin yourself... a behavioral lightness that's like hypnosis for both the characters and a ready audience. "
Where to Invade Next (2016)
Hail, Caesar! (2016)
Son of Saul (2015)
"Brute, haunted furtiveness of Géza Röhrig's Saul... his handsome-yet-spent features are as central to the success of Son of Saul as sound or image. So many of the film's silences speak against the tumult of torment. "
"ake, drink, this is the thesis to my sketch drama: "The world has just become so inhuman. Everyone's plugged in, blindingly inarticulate, obsessed with money, their careers, stupidly, arrogantly content. I crave interaction, but you just can't any more." "
The Lady In The Van (2015)
A Perfect Day (2016)
"Grit-bomb comedy... drip-drip-drip absurdism... Altman's "M*A*S*H," Richard Shepard's "The Hunting Party" and the grandiosely mad Emir Kusturica can be glimpsed in the rearview mirror of floundering influence. "
"A provocative yet joyous celebration of the power of female agency. A self-conscious fairytale, it's one of 2015's smoothest, most confident directorial debuts, superficially a Turkish Virgin Suicides, but very much [its] own wild creature,"
45 Years (2015)
The Benefactor (2016)
Every Thing Will Be Fine (2015)
Horse Money (2015)
The Revenant (2015)
"Each shot means to shock with elemental beauty: the simmering immanence of Tarkovsky in a frosted glade, mist materializing... The warring fury and irrational tumult of Klimov. The dark-on-darker screen of Philippe Grandrieux. Iñárritu has watched well."
Peggy Guggenheim: Art Addict (2015)
"A brisk, neatly constructed look behind the life of the late heiress who became one of the twentieth century's most proficient wheelers and dealers at the top end of the art market, collecting art, but also artists along the way."
"Blanchett's Carol is matched for emotional perplexity by Therese, Rooney Mara's younger shop clerk and photographer manqué. What does it mean when the two of us are in the same room, they survey, in a succession of gestures, ventures and setbacks"
The Hateful Eight (2015)
""3:10 to Salò." ... An overarching visual metaphor that envelops and chills: the monologues progress under blanket of whiteness, an encroaching, enveloping, concealing, obscuring, blanketing, burying whiteness."
"Will satisfy most and annoy few... a sleek machining of a platonic ideal of a memory of George Lucas' original trilogy, after pleasure seeps into recollection and over generations becomes warm vapor, pop-cult hallucination."
Noma: My Perfect Storm (2015)
Flowers (Loreak) (2015)
"With toppling confidence, and an unstoppably lapidary style, candied, swooning, Youth follows 8 1/2 as surely as his Oscar-winning The Great Beauty followed La Dolce Vita... The camera tracks and glides."
"The future is upon her, and the bric-a-brac and banter and bullheadedness and bull---- fall away and genuine elation arrives, and Joy is revealed as a true woman's picture, and the true woman is Jennifer Lawrence. "
The Big Short (2015)
The Danish Girl (2015)
Stinking Heaven (2015)
"As in all his prior work, back to his shorts, Silver is attentive to sound... the aching yaw of sound in space, near or distant, the convincingly objective atmosphere meshed inextricably with piercingly subjective sound design. "
The Keeping Room (2015)
Office (Hua li shang ban zu) (2015)
"he bones-bared design-there's literally nowhere to hide-looks fantastic even as the story-armature of corporate intrigue falls away: the hypnotic and lovely choreography of setting and performers is narcotic, capering, swirling, gliding."
Janis: Little Girl Blue (2015)
""I'd like ya to feel like standin' up and jumpin' up and down in time to the music, gettin' sweaty, just goin' with the music, just goin': Rock 'n' roll's very rhythmic. That's what it's all about, y'know. One-two-three-four-" "
The Forbidden Room (2015)
"More madly Maddinesque than ever....an eye-popping, mind-throbbing palimpsest of film-historical apocrypha [existing] only within its own cloud of visual perfume across two hours of unceasing melodramatic phantasmagoria."
Movement And Location (2015)
"Dear heavens, there's such microbudget goodness in Movement + Location, a slice of lowercase, sotto voce Brooklyn-set sci-fi written, produced, starred-in and edited by Bodine Boling, directed and shot by Alexis Boling."
Takin' Place (2014)
In Jackson Heights (2015)