The Image Book is nonsense that gives experimental cinema a bad name. If a comedy had to spoof an “artsy” movie that’s “a little bit out there”, the filmmakers would try and emulate the ludicrous decisions Jean-Luc Godard makes in his latest “movie”. They might as well play portions of The Image Book instead of writing anything.
Beautiful Boy is a touching film that will break your heart. Based on the memoirs of David and Nic Sheff, Beautiful Boy chronicles the inconsistent dynamic between a coping father (Steve Carell) and his distraught son (Timothée Chalamet). The film leaps back-and-forth throughout their lives; capturing spirited memories, personal bonds, and the rift they currently face caused by Nic’s serious drug addiction.
Holding his audience in anticipation after winning the Oscar for Best Foreign Language Film (Ida), Pawel Pawlikowski returns with his terrific, new Academy Award nominee Cold War.
By: Trevor Chartrand Director Mani Nasry has made a very personal film with We, and it’s certainly commendable, brave even, to see how transparent this young director has been in making the film – I suspect we’re getting a deep look into his mind, his personal philosophies and hardships. Nasry and his crew deserve a lot of respect for what their film is trying to do – however the finished product is far from flawless.
Baby Driver’s Ansel Elgort plays the title character in Bill Oliver’s Jonathan, a sci-fi tale that benefits from its modesty yet is hampered by its lack of ambition.
Hale County This Morning, This Evening is an unconventional documentary of sorts, but it makes sense for photographer RaMell Ross to make his feature-length filmmaking debut with this project. After all, it’s essentially an assortment of photographs that have come to life. The film captures fragmented life in Hale County, Alabama; creating a fly-on-the-wall visit for audiences who observe the community during routines and conversations. Only a few subjects are interviewed on camera, but they speak openly…
By: Jessica Goddard Touching, sincere, and surprisingly universal, Jon S. Baird’s Stan & Ollie is a sensitive look into the last tour of legendary comedy act Laurel and Hardy. Built on wonderful performances from Steve Coogan and John C. Reilly as Laurel and Hardy respectively, the biopic has wonderful range – from the tender or vicious exchanges to the subtle but magnetic moments when the pair perform on stage as a duo.
Inventing Tomorrow, Laura Nix’s uplifting documentary about teenage scientists competing at the Intel ISEF (the science fair to end all science fairs), is a much-needed antidote to the cynicism that seems to be increasingly present everywhere we look.
The Fyre Festival looked like it was a party best experienced through social media in the comfort of your own home. Well, it turns out there’s an even better way to relive the chaos of the ill-fated festival: through Chris Smith’s feature-length documentary, Fyre. Netflix subscribers will watch Fyre in disbelief.
YouTube Premium, so far, has catered to younger audiences with popcorn entertainment and recognizable faces from their streaming platform (The Thinning: New World Order). But, the streaming giant’s latest series Wayne seems to be cut from different cloth. Created by Shawn Simmons and executive produced by screenwriters Rhett Reese and Paul Wernick (Zombieland, Deadpool), Wayne pitches mature audiences a good old fashioned story about finding justice that will surely feature Reese and Wernick’s brand of action and comedy.