Howl's Moving Castle is spellbinding and exquisitely crafted. It is a visually stunning annal in anime.
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Rear Window will be a valuable and fascinating film for good.
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Overall, this film is about people and the simple essence of relationships: be they between friends, lovers, workmates or foes. Everyone is granted the dignity of being human, whichever side of the law they're on.
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There is something to be said about a film that draws you in so deliberately, so gracefully, that you know you are a different person going out. Only, what can I say...
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While watching this, I felt something I don't feel often enough; comradeship and appreciation. The Wilderpeople are my friends, and the filmmakers like me.
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It is evident that Tarkovsky drew much of this film's inspiration from his own life. This is his contemplation on the profundity and transience of life.
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I cannot emphasise enough how visually stunning this film is. You have seen many variations of this story before, but not with this dedication to picturesque craft.
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Bamako is necessary and consequential. It beautifully conveys the type of conversations we ought to have about Africa; pragmatic, unabated and free of hyperbole.
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The point is, we don't know how we'd react until the calamity happens, whether it's as typical as a fight with your boss, or as profound as the world ending. Melancholia imagines scenarios of both extremes, and lets us in on what they may do to the witnesses and participants.
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This film was part of the movement that led to the genre's acceptance in the mainstream, and rightfully so. Otomo made an audacious anime, the most expensive and technically taxing at the time.
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Villeneuve has an almost divine dexterity at creating tension; letting it build over dozens of on-screen minutes. Nothing seems contrived, and the payoffs are surprising and satisfying.
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This film takes place in a time when communities were smaller and simpler, and social ties were more tangible. The spaces between people were bigger, but there didn't yet exist the pervasive technology or persuasion to present oneself as distinctly different from who one was. This is its chief intrigue.
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What was most profound about this film--and I say this from that seen-but-not-heard Moi era generation--was the honesty of the depiction of these characters. They're allowed to just be.
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Legend reminds us of the commitment to excellence that has formed much of Jackie Chan's work ethic. Its final battle, for instance, lasts a little over seven minutes, but was filmed over four months. Count them. Four. Months.
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A fine documentary is made by the synergy of absorbing source material and a superior filmmaker with honourable intentions. Sembene! wins in both regards. This isn't a film about a filmmaker as much as it is about a freedom fighter.
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Frances Ha is a modest and heart-warming film about relationships, attitude and the passage of time. It reminds us that we're all changing; moving in varying directions and speeds. That's life.
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Not a single scene in this film is wasted. Even when the activities are confusing and vague, you can feel things shift and move forward.
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This is a classic piece of film noir by way of drama, thriller and comedy. It's a dense and spirited work, and boy has it aged well.
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In this story, Earth is the good guy, the villain is you, and there is no happy ending.
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To say that Gaspar Noe is indulgent and unrestrained is an understatement. He's the one who filmed memorably upsetting violence in "Irreversible", a film which just like this one, was as disturbing as it was endearing. But there's method to the madness
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