Mediocre French comedy that's a struggle to get through despite some big names in the credits. Set in the UK, but clearly filmed in France after the initial scenes in London. Based on a play, but the horrible slapstick feels like something out of a cheap comic book.
The formula's getting a bit old, but it's still enjoyable despite way too much exposition and characters with lack of depth. At least Daniel Craig toned down the foghorn leghorn in this one.
Cliché-ridden and extremely violent cop thriller that manages to stand out mostly because of the South African setting. I was surprised to discover I understand way more Afrikaans than I expected, which helped due to the lack of subtitles.
A deceptively simple (as always with Reichardt) heist film where the focus is not on the crime, but the aftermath. It's a mesmerising character study of one of these people who believe they're special, leaving a mess wherever they go as they chase that shortcut to success that never comes. Josh O'Connor is phenomenal as the laconic titular character, and the jazz score fits perfectly with the beautiful photography.
There's a lot to unpack in this film. So many, if not too many, themes are covered: social stigma, grief, coming-of-age, generational trauma… all tangled and re-tangled throughout the story. Most of it only coming together, for me at least, well after the credits rolled. I can see why it’s divisive, but I loved every angst-ridden, off-centre, minute of it.
Triggered more smiles than laughs. Short enough not to become a chore to get through though. Didn't expect it to turn into a tribute watch for Rob Reiner, learned of his passing just after.
Maybe I've seen too much of this franchise by now, but I can't take that repeated clunky exposition any more. Everything felt flat apart from the two, admittedly very impressive, stunt sequences.
A one-dimensional story offset by a fantastic soundtrack and impressive visuals. I enjoyed the spectacle, particularly that little retro moment, but it's no match for its predecessors.
Despite the cast's charm, fails to strike the proper balance between humour and the thoughtful handling of working-class oppression. Tone deaf, but ultimately harmless.
This cheesy 80s B-movie with two ass-kicking heroines never takes itself too seriously and it's just brimming with hokey charm. I can see why it's achieved cult status.
My least favourite Dupieux to date. He swaps out absurdity for pure misanthropy in what feels like a thinly veiled autobiography (his film career, his disdain for interviews, etc). That said, Adèle Exarchopoulos is phenomenal, and her exchanges with Sandrine Kiberlain alone are worth the price of admission.
Kathryn Bigelow is as precise as always with what, deep down, is a look at the inadequacy of processes and protocols when faced with actual humans and real-world chaos. It all seems from a bygone era, though, when politics wasn't just about shitposting and memes.
Interesting idea that ends up being more style than substance. I didn't care about either of the main characters, and just felt detached throughout. Fantastic soundtrack full of old Giallo tracks though.
This shouldn't work. It's absurd, over the top, and historically dubious. Yet I enjoyed this weird blend very much, particularly Ed Harris' wild performance.
A great idea with a very uneven execution. The film can't quite figure out what it wants to be, and it could have been so much more with that (true) story. Still, it's enjoyable enough despite the ups and downs.
Tati's earliest take on modernity. Could have done with being shorter, but it's got oodles of charm and is quite the time capsule. Those accents though, you don't hear that much these days.
Enormously fun and silly reboot. Manages to hold on to that low-budget Troma vibe while working with today's production values. Would have been better seeing this with a crowd.
Fun slow-burn thriller with plenty of intrigue that feels like a nod to seventies paranoid thrillers. It would have been perfect if it had stuck the landing.
