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  • Lean on Pete

    Lean on Pete

    ★★★★½

    Though maybe not as hyperbolically perfect as Weekend, Lean on Pete shows that Andrew Haigh is just as comfortable making coming-of-age equestrian dramas as he was making low-budget gay romances, and once again proves that he is truly one of the most talented directors of our time. His first American feature is a tad more melodramatic than his earlier European efforts, but that doesn’t diminish any of the impeccable craft behind it. The signature long takes are still there, and…

  • Fingersmith

    Fingersmith

    ★★★

    Note to self: when a movie is split into multiple parts, try to watch them in the right order. Check if the cd says disk one or disk two before putting it in the dvd player. It took me an embarrassingly long time to find out that I had already seen the ending to the story when I started watching the second (what was supposed to be the first) dvd. I already found it strange that so many characters where…

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  • In the Fade

    In the Fade

    ★★★½

    Her victory at Cannes probably told you as much, but Diane Kruger truly is tremendous. Her performance of a mother grieving the death of her husband and son – killed in an bombing by right wing terrorists – is heartbreaking; carefully balancing between her will to just end it all and be with her family again, and her longing to avenge them – if not in court then in the open field.

    Unfortunately, everything around her isn’t as consistently great.…

  • Sweet Country

    Sweet Country

    ★★★½

    Sweet Country can roughly be divided into three parts: a dramatic introduction, a classic Western chase sequence and a court room drama. The second part is the strongest and the longest. At the same time, this is also where the script’s weaknesses are most apparent; namely the fact that this entire section could’ve been omitted from the film without any serious consequences. If the film had cut from Sam and his wife running from their house to the scene where…