Joaquin Phoenix in Joker, dir. Todd Phillips, 2019

Joker, dir. Todd Phillips [review]

Todd Phillips’s attempt at subverting expectations of both DC Comics fans and arthouse audiences with Joker has proven beyond successful. The film, which comes as a rather surprising offering from the[ . . . ]

Robert Pattinson in High Life, dir. Claire Denis, 2018

High Life, dir. Claire Denis [review]

High Life, the first English-language film by French director Claire Denis, is far removed from the typical sci-fi tropes, such as the glorification of space exploration, praise of the human[ . . . ]

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Markers – Heaven in the Dark Earth

Jason Carty and Jodie Cox, both prolific members of the London math rock scene in the late ’90s up to the early ’00s, originally met on stage when playing in[ . . . ]

Roma, dir. Alfonso Cuarón, 2018

Roma – Beauty on the Outside

There are films whose universal critical approval can only be explained with the stifling power of canonical thinking. A given work is regarded a masterpiece on the basis of a[ . . . ]

Sissy Spacek and Robert Redford in The Old Man & the Gun, dir. David Lowery, 2018

The Old Man & the Gun

Robert Redford chose to end his acting career with a remarkable performance in a role which suits him like no other. Having read The New Yorker piece by David Grann[ . . . ]

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Wildlife

Paul Dano, talented actor acclaimed for his remarkable performance in Paul Thomas Anderson’s tour de force There Will Be Blood and a successful collaboration with a variety of auteurs, including Richard Linklater, Paolo[ . . . ]

Evan Peters (Warren Lipka) in American Animals, dir. Bart Layton

American Animals

Existential vacuum is a subject that hits home with many film directors of the now quickly maturing generation X. Their interest in the age-old phenomenon, which tends to gain importance each[ . . . ]

Hou Hsiao-hsien, portrait

Hou Hsiao-hsien’s Meditations on Time

As the long wait for the European release of Hou Hsiao-hsien’s The Assassin is coming to an end, the London audiences’ appetites have been whetted by the fascinating retrospective of the acclaimed Taiwanese director’s oeuvre[ . . . ]

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Birdman

It is interesting to notice that at least three among this season’s Oscar contenders, Birdman, Foxcatcher and Whiplash, deal with the problem of self-creation and the resulting psychological duplicity. Coincidence?[ . . . ]