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Grimly hilarious, this mashup of black comedy, social commentary, suspense, and horror is sharp and stinging, with a haunting gut punch of a finale… and it’s Yorgos Lanthimos’s most accessible film yet.
Picaresque childhood misadventures sketch vibrant WWII London. A movie of brutal randomness, feral intensity, and ferocious intimacy. Wildly human, artistically masterful, and completely magnificent.
Uniquely fresh yet also deeply lodged in the history of cinematic horror, with a powerful breakout performance from David Dastmalchian. But its triumph is, ironically, marred by the use of “AI” “art.”
Unusually psychologically astute and utterly unnerving as it digs into the enigmas and anxieties of artistic creation. Style is substance in this challenge to the very concept of an “animated movie.”
Oh, frabjous film! Bradley Cooper’s astonishing high-wire act feels classic and modern at the same time: immersive and impressionistic, breathtakingly bold. A kick in the pants to mainstream cinema.
A great American filmmaker on a memory-holed chapter of American history at the intersection of colonialism and toxic masculinity. Massive, epic, and essential. Scorches the earth of our complacency.
The young cast is mesmerizing, but all this dusty dystopia has is vibes and vague metaphors. It only just barely touches on the potential of its science-fiction ideas to explore the human condition.
What might reinvented cinema look like? What kinds of stories might cinema tell that it hasn’t been in recent years, or ever? Where do we go from here?
2013’s Gravity is on Max in the US, Prime in the UK.
2006’s The Departed leaves US Netflix soon; on Prime and Apple TV in the UK.
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