Another film about the process of filmmaking, Their Finest takes us to bomb-riddled London in 1940, where a young secretary is hired by the government to help script morale-boosting propaganda films.
Author: Tomas Trussow
The Lure (Smoczynska, 2015)
The Lure is part-fairy tale, part-Bildungsroman, part-trippy rock opera, and a whole lotta ‘80s glitz and glam wrapped into one twisted, salacious treat. Except, it’s an incredibly messy one, so the experience is not as exceptional as I’ve made it sound.
Prevenge (Lowe, 2016)
Prevenge isn’t very original if we’re being honest here, nor does it reach levels of sheer insanity and bloodcurdling horror.
Maudie (Walsh, 2016)
For the most part, Maudie succeeds in shedding light on Lewis’ tenacity, artistic vision, luminosity and endurance. Who would have known that behind the gentle, smiling face and diminutive frame lay years of pain and struggle?
The Manchurian Candidate (Frankenheimer, 1962)
Saying that The Manchurian Candidate has renewed relevance is like the pot calling the kettle black.
In the Loop (Iannucci, 2009)
If you’re not here for Capaldi, then there’s still a ton to like about In the Loop Fans of Veep will especially adore seeing Armando Iannucci in his element (the first season of Veep aired three years after this film), while those who admire political satires in general will greedily eat up what this one has to serve.
Pirates of the Caribbean: Dead Men Tell No Tales (Rønning & Sandberg, 2017)
Like many franchises, Pirates of the Caribbean should have walked the plank after its third entry—and even then, it had already overstayed its welcome.
My Winnipeg (Maddin, 2007)
Guy Maddin is a singular filmmaker, whose vision is his and his only. You can’t say that about many filmmakers, but it applies unconditionally to Maddin.
Pickpocket (Bresson, 1959)
Pickpocket is my first Bresson (and I’m certainly not alone in that camp), and though the sheer austerity of his style takes a bit of getting used to, in the end I understand why so many historians deeply admire it—if not love it outright.
In Bruges (McDonagh, 2008)
Welcome to Bruges, where the architecture is pretty, the beer is good, and the hitmen are… philosophical?! Then again, they’re played by Colin Farrell and Brendan Gleeson, so a level of sophistication is to be expected.
Being John Malkovich (Jonze, 1999)
Damn. I’m normally a fan of Spike Jonze and Charlie Kaufman, but their first feature reeks of amateur hour all around.
Lady Macbeth (Oldroyd, 2016)
The Brontës meet Gillian Flynn in Lady Macbeth, a tasty period noir that slithers with menace at each turn.
Get Out (Peele, 2017)
Jordan Peele has crafted a fantastic send-up of some of pop culture’s most famous horror stories (Ira Levin’s, in particular), mixing it together with a screamingly good social satire that skewers those fluffy white, bourgeois liberals who, gosh darn, try so hard to prove they’re not racist, and in the process show that, yeah, they really are (even if unintentionally).
Ingrid Goes West (Spicer, 2017)
Matt Spicer’s Ingrid Goes West juggles a boatload of contemporary issues, whether it be the influx of social media influencers who take pictures of trendy foods, furniture and art as their primary source of income, or people living “auxiliary” lives who crave the world’s approval.
Okja (Bong, 2017)
Awww, this was magical. I have a soft spot for adorable fantasy critters, and Okja the superpig takes the cake. The way Mija, our pint-sized heroine, bonds with her pet is so beautiful, and as an animal lover myself, my heart was swelling at their interactions.
The Lonely Film Critic 