Andrea Arnold proves a perfect match for the solemnity of ‘Wuthering Heights’, making this cruel love story as dangerous as it is beautiful.
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The chaotic emotional weight of ‘Sister’ will hit you all at once and when you least expect it, and stick with you long after.
‘Amour’ realizes a heartfelt Michael Haneke, reserving his anti-accessible motivations in favor of honest human tragedy led by two towering leads.
‘Not Fade Away’ strikes an off chord to an overplayed tune, not contributing enough ideas of its own to merit a lasting impression.
‘Something in the Air’ is a lover’s depiction of the 70’s, ever-wishing it that time had lingered on a little longer.
‘Like Someone in Love’ falls willingly into banal repetition, not forming creative enough relationships to maintain interest in its tedium.
‘The Paperboy’ is dripping in gross behavior and gleefully so performances, topped as always by the fearlessly breathtaking Nicole Kidman.
Not cheerful by half, ‘Our Children’ conveys brutal intensity through torturous intimacy and Emilie Dequenne’s devastatingly hollowed out expression.
‘Fill the Void’ is an unprejudiced depiction of Jewish marriage troubles, highlighted by a beguiling lead turn by Hadas Yaron.
In placing African sufferings front and center, ‘Kinshasa Kids’ manipulatively ignores honest misery in favor of crass music and unexplained plotting.
Ang Lee gorgeously emulates God’s design in ‘Life of Pi’, but is hindered by over-explanatory dialogue, indulging in far too many obvious questions.
Bachelorette offers far too many laughs for the audience to handle, all at the heavy price of character development and nuance.
‘No’ is a culturally nostalgic piece of hilarious and inspirational period encapsulation, but also an optimistic, politically activating statement.
Audiard’s answer to American sentimentality, ‘Rust and Bone’ succeeds on the heft of two towering lead performances and sheer aesthetic ambition.
‘Chicken with Plums’ serves as delightfully affectionate entertainment to those who are open to it.
‘Chernobyl Diaries’ gives us all of the technical drawbacks of found footage films, without any of the self-commentary or narrative creativity.
‘Take Shelter’ is more about the current American state of mind than one family’s story and it deserves to be discovered.