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?
Lady Macbeth (Oldroyd, 2016)
The Brontës meet Gillian Flynn in Lady Macbeth, a tasty period noir that slithers with menace at each turn.
Kedi (Torun, 2016)
I would say I’m more of a dog person than a cat person (even though, in another life, my current personality would be more catlike than doglike), but Kedi is very hard to resist either way.
Free Fire (Wheatley, 2016)
Ben Wheatley is—and always has been—an imperfect filmmaker. And I don’t think he gives a flying shit about it, to be honest. His filmography speaks for itself: frequently bold and daring confections that blow carefree raspberries to sparkly prestige pics and big-budgeted blockbusters.
The Levelling (Leach, 2016)
If you want to dismiss The Levelling as purely an exercise in misery porn, then maybe you need to dig a little deeper. Actually, you should dig a little deeper. Because while there’s a sad tale at its heart, there’s also a lot to say about the subtle and graceful ways it handles grief and silent resentments.
David Lynch: The Art Life (Nguyen, 2016)
Like Lynch’s own filmography, The Art Life will be appreciated by many and infuriate countless others.
10 Cloverfield Lane (Trachtenberg, 2016)
Contained in a claustrophobic bunker for much of its running time, 10 Cloverfield Lane is an exercise in scouting out trust.