Indignation is handsomely mounted, an old-school picture without pretensions of being anything else, and still it breathes and heaves with all the pinpoint accuracy and dribbling irony of Roth’s pen.
Tag: 2010s
The Witness for the Prosecution (Jarrold, 2016)
Wilder’s version is already a classic, and while this BBC adaptation is not quite at that level, it succeeds in doing a great deal with very little.
Kubo and the Two Strings (Knight, 2016)
Undoubtedly the best animated film of 2016 in the way it combines superlative stop-motion with an engaging, thoughtful story.
Everybody Wants Some!! (Linklater, 2016)
So… I’m in that group that went into this movie not expecting to like it much, but ended up really liking it/borderline loving it. This is a testament to Linklater’s gifts.
The Eyes of My Mother (Pesce, 2016)
Goodness is this film gruesome. There’s death, there’s torture, there’s kidnapping, there’s psychosis—and it’s all elegantly framed and put together with a tastefulness that seems at odds with the story.
13th (DuVernay, 2016)
Ava DuVernay’s 13th looks and feels like something criminology professors will be screening to their students in perpetuity, yet why should that matter in the end?
The Neon Demon (Refn, 2016)
The Neon Demon? Oof. I didn’t know you could say the word “dull” in so many colours.
Julieta (Almodóvar, 2016)
I really do admire the care and attention Almodóvar put into this, as well as the fantastic acting from the two leads (especially Suárez, whose face is nigh-unforgettable).
Cemetery of Splendour (Weerasethakul, 2015)
Weerasethakul’s modus operandi seems to require being as oblique as possible, but here I did not mind it so much. If nothing in the diegetic world makes sense to the characters, then I don’t expect the audience to be blessed with revelation.
Tower (Maitland, 2016)
Tower documents the 96 minutes of utter hell that was unleashed on the University of Texas at Austin on August 1st, 1966.
Midnight Special (Nichols, 2016)
Midnight Special is trying to tell something more ambitious in scope, yet Nichols doesn’t go out of his way to make it ambitious. And so you’re left watching it, maybe pleasantly, maybe impatiently; when the end comes, it neither jolts nor astounds. It leaves nary a mark.
Brigsby Bear (McCary, 2017)
For anyone who feels alone in this world, or who thinks their creative genius is being misplaced, Brigsby Bear is going to be the balsam you need to get through your worst days.
Girls Trip (Lee, 2017)
All hail Tiffany Haddish. Her NYFCC win was the sole reason I decided to watch Girls Trip sooner rather than later, and, well, the proof is in the pudding.
The Trip to Spain (Winterbottom, 2017)
When you need something light and guaranteed to make you smile, while also hugging you with its familiarity, The Trip films do the trick nicely. You put one on, and instantly you know what to expect.
Emilija Iš Laisvės Alėjos (Ulvydas, 2017)
Even if Emilija did not exist as a person, one can still imagine others like her finding themselves on the path of resistance, and that type of verity is what makes Emilija a compelling watch—in spite of its relative unevenness.
The Lonely Film Critic 