Sight and Sound
The Sacrament (2014)
Why Don't You Play in Hell? (2014)
"A deliriously gaudy celebration of the decline of everything (including Japanese cinema, film as a medium, and any notion of good taste), it plays like the improbable bastard offspring of Cinema Paradiso (1988) and Kill Bill (2003) "
The Zero Theorem (2014)
"Gilliam appears to have become trapped in the loop of his own fantasy - although, as fantasies go, it is a good one, dark and despairing precisely because of its awareness that any hope is just part of the illusion."
The Congress (2014)
"imagines a future in which all actors have been reduced to manipulable digital data, and explores the cost imposed upon our sense of history and identity by a virtual world where the image rules and desires are instantly - if emptily - fulfilled."
Rigor Mortis (2014)
"an elegantly realised revitalisation of a lost mode of Hong Kong horror, with loss itself, as well as cinema's special power to preserve and even resurrect the dead, key to its elegantly eerie impact."
Only Lovers Left Alive (2014)
"Tilda Swinton and Tom Hiddleston may be decadent blood drinkers, but it is we mortals who are both mindless 'zombies' and a plague upon the world, while they are the keepers, curators and even contributors of... underground culture"
Camp 14: Total Control Zone (2012)
"It is this very understatement, and the weight given to Shin's words over any accompanying sound or image, that prevent Wiese's film ever seeming exploitative, even though it is addressing unimaginable human depravity and degradation. "
The Selfish Giant (2013)
"Two elements stood out for me: the film's vivid evocation of edge-lands, the scrubby, generally disregarded hinterland areas on the outskirts of British cities, and its depiction of the actual physical circulation of money."
Like Father, Like Son (2014)
"It is the darkest movie - visually, psychologically and spiritually - that Denis has made. It's also one of the rarest of cinematic objects - a completely contemporary, disturbingly relevant film noir."
At Berkeley (2013)
Miss Violence (2013)
"Could not have been better acted and constructed to achieve its grim intensity. You'll recognise the tone as resembling that of the group of Greek talents that brought us Dogtooth, but it is a more conventional work that harks back as much to Attic tragedy"
The Unknown Known (2014)
The Armstrong Lie (2013)
Night Moves (2014)
Pacific Rim (2013)
The Silent House (2011)
Mars et Avril (2011)
The Human Race (2014)
Dead Weight (2012)
Piercing Brightness (2013)
"it manages to say as much about immigration and assimilation as any more grounded exodus drama, while also serving as a psychedelic city symphony that shows the sights of Lancashire's County Town through thoroughly alien eyes."
"story of a young man blessed (or cursed) with the gift of communicating with extraterrestrials at the expense of his own sense of identity offers an entry on alienation, addiction and mental illness."
The Revolutionary (2013)
"documents the most dramatic moments in China's revolution under Mao Zedong from the perspective of a close insider who was also a westerner and outsider... a tale of ideological fervour and subsequent disillusion "
Poor Folk (2012)
"wryly traces a demi-monde of impoverished ethnic Chinese expats from Burma who, despite their high ambitions for a better, more affluent life abroad, can never get far from the frontier of their 'bumpkin' homeland"
The Reluctant Fundamentalist (2013)
"Nair carefully manipulates the viewers' prejudices & forces us to take sides in a conflict more complicated than it first appears, all to make us ultimately step back and look at the 'whole story' of East-West relations in their broader context."
"comedy itself is also one of the film's dividing lines of Islamic identity, as Cassim and Ebrahim negotiate (and redefine) together how many ha's it takes to pass from what is 'halal' (permissible) to what is 'halaam' (sinful)."
111 Girls (2012)
Bank Holiday (1938)
"relentlessly depressing but compelling & complex, The King of Pigs bears witness to a hidden legacy of oppression, violence & despair from which there can be no easy escape, & which reflects the hierarchies that continue to stratify Korean society. "
"virus thriller Deranged (Yeon-ga-si) tries hard to break free of its Contagion shackles by giving its infection a truly bizarre origin & symptomatology... [but] ends up being both preposterously silly and numbingly repetitive."
"The Grand Heist maintains its tone of madcap rambunctiousness, while allowing its thieves to be, or at least to become, true Korean patriots with a grand political cause and an East-meets-West sensibility (the latter shared with the film itself)."
The Thieves (2012)
"it's all very slickly realised... but the sheer number of mood swings, double crosses and narrative twists eventually becomes exhausting, while making it impossible to engage with the protean players or to care much who eventually comes up diamonds."
"a somewhat sentimental tale of royal intrigue and romance; a crash course on the claustrophobic, often bizarre details of courtly life; and a showcase for the acting talents of Korean superstar Lee Byung-hun, in dual roles. "
Zombi 2 (1980)
"[the remaster] looks a whole lot better than the bootlegged version lost down the back of the sofa in the video nasty era, but apart from its iconic zombie-vs.-shark sequence, it has little to offer today's audience beyond nostalgia for its own sake"
The Tall Man (2012)
The Helpers (2013)
"a bold folly, mixing genres and colour palettes with all the desultory visual flair of a Jodorowsky film, but with none of the Chilean director's intelligence or depth of ideas. So it's Shallowwalkers really..."
Dance Town (2011)
"Shot in flourish-free handheld, Jeon's social drama uses recurring motifs and occasional breaches of chronology to build to a calmly devastating climax while suggesting that Koreans are both divided and united along lines that are not merely ideological."
"It's a strikingly imaginative effort, a haunting and poetic film from a major talent who's been gathering admirers on the international circuit since his breakthrough film Times and Winds (Bes vakit) back in 2006."
24 City (Er shi si cheng ji) (2008)
"24 City belies its documentary origins with overtly poetic film language: the film is an elegiac visual symphony of carefully framed compositions, trompe l'oeil camera movements, posed portraits, internal rhymes and mysterious vignettes."
Mary and Max (2009)
"Ultimately, Mary and Max is about correspondence and lack of correspondence, about how our images and fantasies about others fail to match up to what they are like, and about the constitutive gaps and misfirings in any communicational practice."
A Simple Plan (1998)
Breakfast of Champions (1999)
The Waterboy (1998)
Blast From the Past (1999)