Nick Rocco Scalia

Rounding can be a tough film and one that puts its viewers through a lot, but the investment is well worth it.

Streetlight Harmonies manages to conjure up some compelling and highly evocative vignettes.

Respectable in both intentions and execution, this is the kind of film that sneaks up on you and leaves a lasting impression. Like our man himself, it shouldn’t be overlooked.

Try as I might, I can’t quite shake nor stop thinking about The Giant, and that makes me believe Raboy’s done something very, very right, here – even if you might have to squint a bit to see it.

Hammer has the mechanics of a hard-edged noir thriller, which work startlingly well, but it’s clear that Sparkes’s heart, and therefore the film’s, is centered on the distressed familial relationships.

The overall experience of The Grand Bizarre is, in a lot of ways, an extremely eye-opening one. It forces a viewer to consider how complicated and incredible every single stitch of a rug, or a scarf, or a dishtowel actually is, and how easily it is to overlook that fact.

The directorial choices, from the minimal use of music for dramatic embellishment to the innovative split-screen technique used to blur the identities of individuals in courthouse footage, are spot-on throughout.

Although Hepi admits that he still has a lot of questions regarding his late mother – and his audience is bound to have theirs, as well – he’s nevertheless put together a stirring, deeply personal, and hard-hitting profile that goes a long way toward illuminating and immortalizing Mita’s contributions to Maori culture and world cinema as a whole.

This is a unique, well-acted, handsomely produced movie, overall, the kind of thoughtful and wholesome, high-concept drama that you don’t see much, anymore.

The film is never less than entertaining, and it’s easy enough to get caught up in its roller-coaster narrative and impressive recreation of mid-century Texas, but its makers occasionally struggle to get a handle on their protagonist and the attendant themes of ambition, failure, and stubborn perseverance that he represents.

When a movie does so much right – it’s unique and visually arresting and, at times, legitimately moving and surprisingly scary – it’s hard not to wish for something more complete, something that fully and entirely connects.

Hellsgård and writer Olivia Vieweg have crafted a morbidly beautiful, uniquely character-focused, and decidedly feminine take on familiar apocalyptic tropes, and while it doesn’t always entirely deliver on a narrative or visceral level, Endzeit – Ever After emotional resonance – and the singularity of its worldview – is undeniable.

Nyoni’s handling of tone is astoundingly careful, and because of it, I Am Not a Witch is a truly unique and stirring experience.