Reviews

As thrilling as ever, this installment offers the epic action and stunning effects you’d expect from the franchise. While Tom Cruise hasn’t grown much as an actor over the years, his ageless charm more than compensates for it.

Once the new era of bicycles replacing horses arrived, chillness slipped from the fingertips of cowboys who hadn't yet left the old days-staying with romance and humor in a gradual loss of control, and moving toward variations on the genre in a tribute to The Great Train Robbery, and the new American cinema.

Don Siegel really does turn this script into something magical, knowing very well what kind of camera scheduling is needed to maximize the thrills and excitement presented to the audience in a b-grade production, as well as portraying a likable enough professional killer; it feels so interesting to see such a young Cassavetes!

It's been too long since I've seen Jia Zhangke's film, so much so that I've already wanted to cry sitting in the theater for the first hour, summoning up the memory of the city at the beginning of the millennium through the reorganization of footage, in which Qiaoqiao is the embodiment of “haunted”. The contrast between the present and the past is “all gone”, a sigh of old age.

Repeating gangster clichés but gay enough! The fetishization of the clothing (suit fabric/necktie pins) in the movie is also a point of interest.

Despair, emptiness, mania, cynicism, the naked feelings of naked humans wandering around the city late at night radiate directly from the images with high intensity to all.

Better then part one 🔥🔥🔥🔥🔥🔥

Very very good story for a cartoon

The tumultuous shifts in power dynamics—such an intense depiction of toxic entanglement between men.

In the same vein as boxing-themed film noir, the story of Othello.

Best Palme d'Or in past 5 years

Queer coding allows the film to break away from teen horror and coming-of-age movie clichés, and is complemented by the right amount of “over-the-top” in the performances of the main characters!

A charming little French story—humorous and absurd, blending small-town tales with the clash of outsiders. Amid all the daily changes, it stays true to its core essence.

Elaine May's writer-director debut, a (what I would call) “plant-film”, creates an interesting power dynamic: the passive female character eventually “takes control” (as a plant that exists at ease eventually transforms the human race); loved some of the poignant humor! (just as a plant exists freely and eventually makes humans transform for it); liked some of the sentimental humor!

Running away from the family and then acting out idealized parenting in over-the-top pretend games, with trust as the bond of mutual connection and the depository of reconstruction-it's fascinating to never be able to predict where a Hal Hartley film is going!

This is the Cruel Story of Youth for our time. The emotions and realizations depicted feel so familiar because they’ve happened to me personally. I’m just deeply grateful to Sora Aoi for presenting it all in such a simple yet powerful way. It captures the pain of coming of age in a world steadily heading toward apocalypse and dystopia, holding onto a light and tender happy ending before identity and politics tear people apart. The soundtrack carries such strong Sakamoto vibes. I cried more watching this than I have at any other film this year.

After watching more Japanese "walking" movies, I think it is very important to reproduce the public space, the state of people in it is exactly the way for the creators to express their observation and imagination of contemporary life, and memory-existence is of course an important proposition in it; I like Tama!

It was before moving and looking for a room that I watched this Akerman, lovely! The room accommodates the diverse gestures of the characters, but also serves as a field for tracing private history, “the poetics of space.”

What an energetic and feral female character! It's also understandable why comparisons are made between “Anora” and “Showgirls,” but it's clear that the intensity (and possible heights) are completely undermined by the fluttering of the mid-to-late portion of “Anora” and the deflation of the ending, as compared to the unwavering nature of this film

Pursuing purity but not reaching true extremes ...... What if NWR was willing to simply give up the pleasure of (being) decoded? As well as a growing disenchantment with such animalistic tales of savagery ......