Laura Poitras’ documentary following Wikileaks founder Julian Assange suffers from a scattershot focus, unable to coalesce into anything more than an interesting collection of hard-to-get footage.
Warwick Thornton’s irreverent and passionate Sydney Film Festival opener tackles a broad range of pressing contemporary discussions on race, history and identity.
Alexandre O. Philippe’s cinephilic documentary neuters interesting avenues of discussion around Hitchcock and Psycho, instead preferring to traffic in the superficial.
Kenneth Lonergan’s third feature film revisits his pet themes of grief, family and community, all conveyed with the sharply observed realism which defines his writing.
M. Night Shyamalan’s latest is outlandish in premise and limp in execution.
Wading through Burt Reynolds’ personal archive makes THE BANDIT much more than a simple behind-the-scenes doc.
Jonathan Demme’s exuberant concert film captures fleeting moments of intimacy embedded in a Justin Timberlake arena spectacular.
Nicolas Winding Refn’s fashion thriller is a simplistic and empty tale of clashing egos and sexuality that places the director’s suffocating visual maximalism front and center.
The debut feature from Cris Jones is a would-be mindbender about time and memory derailed at the outset by its overbearing approach to plot and the utter simplicity of its script.
Guy Maddin, Evan Johnson and Galen Johnson turn in a bizarre and hilarious essay film in the guise of a behind-the-scenes feature on a big-budget war movie.