Much like Paul Greengrass with last year’s 22 July, Maras drops us right into the center of the action and barely lets his foot off the gas long enough to let the audience catch its breath over the course of two hours.
This is a certified classic and a worthy remake of its source.
Speaking volumes about the nature vs nurture debate and inviting you to think deeply on the subject, it’s the kind of emotionally-wrecking film that will be difficult to revisit, but demands to be appreciated.
Christian Petzold presents us with something that looks sunny and bright, despite seriously dark implications. It’s a bold film in that regard because it always keeps you guessing about what you’re seeing.
Costner and Harrelson certainly have a curmudgeonly chemistry about them, but there is depth left on the table that is only hinted at, and never truly explored.
With three feature films to his credit, Neill Blomkamp has proven to have a distinct visual style and a flare for science fiction stories that, while told in futuristic settings, draw a lot of parallels to our world and our time.
Shane has earned its status as a classic and this certainly won’t be the only time I watch this film.
Perhaps it’s a warning against taking life too seriously. Or maybe it’s just about getting high, having sex and enjoying a good poem.
At this point I’m quickly becoming convinced that the McDonagh brothers can do no wrong.
Penélope Cruz and Javier Bardem are absolutely incredible in their performances as the mother of a kidnapped girl and her former lover from many years ago. Their past is no secret (hence the film’s title), but that doesn’t mean we know the full story.
A scarier version of this movie could have been a legitimate instant classic.
Everything here is just about as on-point as it can get. The score amplifies the insane action, the shot selection and editing work hand-in-hand and for something that focuses so heavily on fighting, there is some really solid cinematography to observe as well.
I really like Blomkamp’s style of filmmaking. It’s visceral, engaging and meaningful, especially considering his genge preoccupations. I hope his next film has a bit more focus, so it can shine as brightly as his debut.
This is the car chase that produced countless loving imitations. It’s a thrilling sequence that holds up amazingly well fifty years after it’s release.
It takes on a heavy topic but the script mostly treats it with levity until the later stages, and all the while Gleeson owns the screen.