As with many horror and action films (and probably much of real life), the build-up is better than the eventual resolution/climax.
Ezra Haber Glenn
Years from now, I’m sure I will have forgotten nearly everything about Infinite Storm, but this one scene will still stick with me.
Our demanding critics choose the best films (along with some disappointments) of the year.
This “father and sons on the lam” film adeptly blends genres (in this case: sci-fi plus thriller). It is well assembled, emotionally compelling, and beautifully shot.
Belfast is overly sentimental and drenched if not drowned in nostalgia, but it’s also very sweet, uplifting, well-paced, beautifully shot, and competently assembled.
Collectively, Terra Femme’s footage provides a window — or really, a suite of windows — that allows us to view a bygone world through the eyes of silent female gazers.
Blue Bayou’s story deserves to be told and heard. But rather than focus slowly and intently on its central crisis, the script kneads in a dizzying array of additional threads and sidelines.
The Card Counter collapses under the weight of director Paul Schrader’s guilt complex.
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
This new satirical sci-fi fable is perfect for home streaming to channel (or perhaps exacerbate) your gnawing anxieties at a world slipping into anti-human automation and free-market desperation.