The Raid (aka The Raid: Redemption) (Serbuan maut) (review)
It’s a movie, not the latest first-person shooter, but it might as well be.
non-English-language
Juan of the Dead (review)
Zombies and social satire were made for each other — this has been true since the advent of the modern zombie flick in the 1970s. But zombies and political satire?
A Cat in Paris (review)
Why does this children’s book of a film morph, after a delightful, beautifully observed, feline-biographical opening, into a gangster crime story?
Headhunters (Hodejegerne) (review)
Crazy-funny, a hilarious satire on male inadequacy disguised as an outrageously violent crime thriller. Not at all for the squeamish, and just so wrong that it ends up just so right.
In Darkness (review)
It’s The Diary of Anne Frank, only with sewers. Elegantly presented, chock full of moments of dreadful suspense in a horrible milieu, and buoyed by strikingly naturalistic performances…
The Forgiveness of Blood (review)
American filmmaker Joshua Marston’s anthropological storytelling presents characters and cultures alien to his audiences’ eyes in ways that render them instantly and easily recognizable and sympathetic…
In the Land of Blood and Honey (review)
Written and directed by actress Angelina Jolie, there is nevertheless nothing “Hollywood” about this film: it stars local actors and is in the local languages, and it shies not one whit from the horrors of the Bosnian civil war.
Tatsumi (review)
Singapore’s official submission to the Best Foreign Language Film category of the upcoming Oscars is an animated Japanese-language ode to legendary gekiga artist Yoshiro Tatsumi…
Miss Bala (review)
There is a whole lotta frustration to be found in a movie about a woman forced to play men’s games who doesn’t fight back… not even a little.
The Skin I Live In (review)
I’ve heard this from many a film lover: “Oh, Pedro Almodóvar! He’s such a feminist! He loves women!” I don’t see that. At all.
