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  • La La Land

    La La Land


    The art of filmmaking is alive and well in the hands of Chazelle, who employs classically inspired camera techniques that allow audiences to be swept away in the musical fantasies playing out on screen while letting the actors’ performances speak for themselves, uninterrupted by heavy editing. [...]It could be argued that the camera itself plays another character inhabiting this world...

    To read why PJ Yerman is raving about this best picture contender, click here:

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  • Sing Street

    Sing Street


    Lawler is the heart of the movie and he feels content to blend into the background of his new school, never making a mark or changing the attitudes of those around him. It’s not until he starts his band and forms genuine connections with people his own age (as well as his brother) that Lawler feels inspired to be a unique individual in a sea of average Catholic school boys.

    To read the rest of Elizabeth Esten's thoughts on last summer's indie darling, click

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Popular reviews

  • Whiplash



    It is the message of Whiplash, Damien Chazelle’s fast-paced character study/ode to the costs of greatness, that left me with a bad taste in my mouth. The film follows Andrew Neiman (Miles Teller), a drummer at a fictional Juliard-esque college in New York City, as he is mentored by the abusive, frightening and amoral Terence Fletcher (J.K. Simmons).

    To read Filmic contributors Jordan Aaron and Joel Kalow debate over the good and the bad of Whiplash, click here:

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  • The Evil Dead

    The Evil Dead


    The Evil Dead transcends the drive-in. It transcends horror cinema. It stands alone as a work of pure, uninhibited creative savagery. Raimi’s camera moves with a fierceness which gives it a remarkable presence; his frequent use of subjective point-of-view shots rip the viewer into the action.

    To read the rest of Kevin Firmini's review of the Sam Raimi classic from the October 2015 issue, click here:

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