Visual literature. The consummation of Veronique's moment to moment beauty is purely inexplicable; a fragmented mosaic of long-lasting emotion and cinematic fervor.
Words for this don't suffice. See it for yourself.
May A Brighter Summer Day rest among the titans of cinema—towering in its depth, modest in its scale, and with rarely a false note during its four-hour run.
In a time where film is constantly being brought to larger and louder places, Edward Yang's masterpiece serves as a beacon of simple complexity.
Andrea Arnold is a singularity in a cesspool of congruency―her camera, her talent, her subjects, all freely moving against the grain―in a world stamped with only one possible signature: hers. This is necessary independent cinema; a burst of creativity and rebellion so badly needed in an otherwise (mostly) standardized arena.
American Honey breathes with a richness in character, so nuanced and so untapped, you just can't wait to see what comes next.
Very well crafted, very silly.
While I love del Toro’s willingness to explore the sexual underpinnings of cinema’s great monster movies, the romance is never earned. Through brief glimpses and montage, we’re shown Elisa’s growing chemistry with The Asset, but far from anything that would warrant a relationship, let alone one that is sexual.
Defenders will excuse the film's complete lack of logic as ingredients of fantasy, but I'm not buying it. To me, The Shape of Water always felt like grounded sci-fi, which consequently makes for a confusing experience.