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Perfectly illustrative of the serendipitous nature of documentary filmmaking as it pivots from a personal investigation of doping in sports into a thriller with global geopolitical ramifications.
Cursed twins who speak in faux-byronic enigmas, a crumbling manse full of dead birds and velvet drapes, and strained psychosexual nonsense. There’s nothing eerie here, just the puerile and misjudged.
Absolutely hilarious, full of smart snarksters, comedic suspense, and gleeful smashing of action-movie clichés. Part screwball comedy, part romantic adventure, all pure movie-movie joy.
A slow, mild exploration of guilt, grief, bigotry, and militant sectarianism, all in the context of a treatment for a zombie virus. Tepid and frustratingly underdeveloped, with few surprises.
An all-style and very-little-substance exercise in random oddity and weird imagery. Dispenses with engaging characters and revels in its own meaninglessness as if emptiness were deep and significant.
An appealing high concept that could have gone in many wildly different directions, all emotionally charged, instead wallows in a wan, bloodless banality of “chill.”
This ultra-low-budget indie uses its own rough edges to great effect in its skewering of the happily-ever-after rom-com fantasy. Bleak, brutal, absurd, and painfully realistic.
Sally Potter’s brutally snappy take on the classic British drawing-room comedy hauls it into the 21st century with a cutting takedown of the anxieties and hypocrisies of well-off left-wingers.
Classic comic-book stuff made fresh by drawing on underexplored mythologies and cultures, yet still deeply resonant and deeply universal. An exhilarating pulp-fiction dream that ups the ante on the Marvel Cinematic Universe.
Part hamfisted critique of Big Ag, part strained romantic comedy, and part insipid musical that’s not much like the Bollywood tribute it’s meant to be. An accidental parody of itself.
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