I urge you all to seek this out as soon as possible. It is one of those obscure achievements that deserves all the attention it can get.
Tag: Drama
Columbus (Kogonada, 2017)
Columbus reminds me of Jim Jarmusch’s Paterson mixed with sprigs of Linklater’s Before trilogy and Sofia Coppola’s Lost in Translation.
Beach Rats (Hittman, 2017)
This isn’t 2017’s best LGBTQ film. But in its own way, it provides a striking counterpoint to the stories that seem more hopeful in nature.
The Room (Wiseau, 2003)
Everything about this is inept and misjudged.
Manifesto (Rosefeldt, 2015)
Cate Blanchett plays over a dozen characters, takes on half as many accents, gets to wear some great (and not so great) wigs.
The Death of Louis XIV (Serra, 2016)
Does anyone nowadays care how Louis XIV died? I certainly didn’t. Nevertheless, Albert Serra imagines the event as though it were a slowly deflating balloon in a burnished Baroque painting.
Battle of the Sexes (Dayton & Faris, 2017)
A number of people whose opinion I value didn’t much care for Battle of the Sexes. I decided to give it a go all the same, in case there was something in it they weren’t seeing. I’m sad to say that they were right.
Hunt for the Wilderpeople (Waititi, 2016)
Taika Waititi’s Hunt for the Wilderpeople is so precious. I don’t mean that negatively—it’s just a really cute film that you want to give a warm hug to.
Swiss Army Man (Kwan & Scheinert, 2016)
Whoever came up with this premise deserves a raise and more chances to pitch ideas, because I found this film refreshingly original. A breath of fresh air with some gassy odours mixed in, so to speak.
Kate Plays Christine (Greene, 2016)
Kate Plays Christine is all about the ethical concerns of this kind of memorialising. It wonders aloud why Christine Chubbuck mattered if not for the way she died, and the answers are hard to come by.
Captain Fantastic (Ross, 2016)
This is one of those films that’s quirky for the sake of being quirky, with a family of survivalists subsisting in a forest and living something of a utopian lifestyle where questions are always answered, debates encouraged, classic literature consumed, and campfire music-making a mainstay.
Indignation (Schamus, 2016)
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.
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.
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.
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).
The Lonely Film Critic 