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In an intimate yet shattering documentary, Black British activist Femi Nylander searches for “the imperial history they didn’t teach at school,” and finds it. Heartbreaking, provocative, illuminating.
Acceptably inoffensive, if less than wholly engaging. At least Liu’s strong, stately Mulan is a wonderful role model for girls who aren’t much interested in conformity and adhering to expectations.
How very kind of Tom Hanks to lend his gravitas and inescapable likability to a bunch of WWII naval reenactors on their weekend-getaway “crossing the north Atlantic in 1942 dodging U-boats” campaign.
As pastel and glittery as its predecessor, with a silliness more glorious and less forced. Sweet, smart, sincere… but it doesn’t deserve to be carrying the future of movies on its little shoulders.
So aggressively precisely what you think it is that there’s almost no point in seeing it. Flattens a true story into generic pap that isn’t even that successfully, authentically feel-good, either.
An untold Holocaust story, of Philippine president Manuel Quezon’s fight to take in Jewish refugees, feels like it remains untold: this sluggish, overlong film cannot overcome its low-budget roots.
Kudos to J.J. Abrams for doing something extraordinary: he has made me not care about Star Wars for the first time ever. I’m kind of relieved that it’s over, because it has stopped being fun.
Two intimate documentaries from inside the Syrian civil war, diaries of women who stayed to fight for their nation and help their people, pay tribute to human perseverance and chide Western apathy.
Fight the future. Change the future. Watch the future reset itself so that everything ends up much the same way anyway. Repeat. This time-travelling franchise is, ironically, stuck in the past.
Not a spy thriller but a story of emotional and intellectual suspense wrangling with matters of patriotism and of conscience, and of just how far journalism’s watchdog role can and should take it.
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