Anti-cinema. Orson Welles’s final work, forty years in the making, is a nuclear bomb on celluloid. Featuring some of the most sophisticated editing of the year, The Other Side of the Wind actively mocks its audience and its characters for attempting to dissect its themes. And yet, I’ll try to dissect it anyways. Perhaps the natural conclusion to the career of cinema’s wunderkind, if not the only one possible, Welles pick up where F for Fake left off and pushes…

“I’m capable of much unpleasantness.”
“Some wounds do not close.”
“Let’s shoot something.” 

The Favourite is a brilliant, nasty, full-throated cackle of a movie. The funniest (and darkest) comedy of the year, with a truly stunning ensemble. Colman, Stone, and Weisz all turn in career-best work, and Nicholas Hoult has never been better. The production design, costumes, and camera work are superb. Even the use of the fish-lens is wonderful, and the script is on a level of perfection that…

No wonder Warner Brothers decided to sell this to Netflix. Mowgli is an unsuccessful attempt to create a “dark and gritty” version of Kipling’s novel, too violent for children and too dull for parents. What may be the biggest offense of all is the motion-capture used for the animals: there’s something just wrong with them, as the actors’ faces were plastered on the CGI models. It’s rather horrifying to watch for the entirety of Mowgli’s 95 minutes; Baloo (voiced and…

Lars Von Trier: Hey man, doesn’t life suuuuck? And doesn’t the life of an artist suuuuck? Aren’t serial killers the same as serious artists? Aren’t their victims, in a sense, a work of art? Hey, aren’t I a serious artist? Isn’t my entire filmography full of violent and disgusting things? Doesn’t Matt Dillon in this movie I directed remind you of me? Doesn’t his appalling crimes in this movie remind you of my movies and how they’re received by audiences?…

How ironic that Netflix’s first Masterpiece with a capital M demands to be seen on the silver screen. Shot in 65mm and mixed in Atmos to audial perfection, Roma is a testament to the power of cinema. There’s a grace and beauty to the film that is extremely rare to come by, but Alfonso Cuarón has that golden touch; a gift from God. For 135 minutes, Roma brings you into its world, but the carefully designed settings and the strong…