Peter Sobczynski

Even in a filmography with more than its fair share of impressive achievements, it deserves consideration as one of Wiseman’s greatest.

To Kill a Tiger tells an important story in a compelling manner that makes it worth watching, but its journey is so intense at times it might prove to be too much for some.

While moviegoers desperate to see anything that doesn’t involve a superhero may be willing to overlook its shortcomings, others will undoubtedly be disappointed to find that it's somewhat less than the sum of its parts.

Here was a film that took elements that one might have encountered in other movies in the past—black humor, gore, surrealism, erotic imagery, gorgeous black-and-white cinematography and oddball performances—and presented them in such a unique and deeply personal manner that the end result was something that literally looked, sounded and felt like nothing that had ever come before it.

Because it is the first film to be released by Higher Ground, the production company formed by Barack and Michelle Obama that signed a highly publicized deal with Netflix, American Factory will no doubt find an audience far larger than the typical documentary focusing on the contemporary labor movement.

It's fascinating that while the movie deals with exceptionally grim material, it never becomes too unbearable to watch.

Nomad: In the Footsteps of Bruce Chatwin, is one of the most deeply personal films of his long and brilliant career, I am not just indulging in a bit of critical hyperbole.

To the credit of the filmmakers, 76 Days has been made in such a skillful and gripping manner that even those suffering from COVID news fatigue will find themselves caught up in it.

Depressingly universal and even more depressingly contemporary more than two centuries down the line.

If the name "Gilliam" set off a little tremor of excitement when you heard it that is no accident because, with its combination of startling visuals, a head-spinning storyline and oddball characters that don't always conform to their presumed parameters, Snowpiercer is a film definitely in the vein of the works of the great Terry Gilliam, especially his 1985 landmark "Brazil."

One of the essential documentaries on Hollywood.

Even by Maddin's standards, it is a pretty wild ride in all aspects, starting with its very concept.

The result, though not without flaws, is an invigorating and interesting observation of the man, his work and the entire medium of photography.

Full Time looks and sounds like a nail-biting thriller and tells a story that many viewers will be able to relate to on an intensely personal level.

I found it compelling for its depiction of the mechanics of the current athletic scene and the triumphs and tragedies that occur along the way. It may not leave you cheering in the end, but it will give you something to think about the next time the Olympics come around.

What makes La Camioneta so interesting is not so much the story that it tells as it is the way that Kendall has chosen to tell it.

Although the duo's reputation hardly needs bolstering these days, it gets just that in this extraordinary exploration of their legacy by one of the many filmmakers who have found themselves enthralled and inspired by it.

Admittedly, this 85-minute film is not the kind of movie you wish that had been a lot longer. And yet, it's still worth exploring for a number of reasons—primarily the strength of Crawford’s performance—and those who do not have a problem with raw and unflinching dramas may indeed find it well worth watching.

House of Hummingbird deserves a place alongside the likes of “The Virgin Suicides,” “The Ocean of Helena Lee” and “Eighth Grade” as one of the most knowing and intelligent cinematic takes on the pains and occasional pleasures of female adolescence of recent years.

Conventional and easy-to-follow narratives can be found anywhere, but very few of them occur in films that are as visually ravishing and formally graceful as what Hou has cooked up here.

The result is a slow burn of a drama with a restrained tone that may put off some viewers, but which will captivate those who responded to its low-key wavelength.

What this film may lack in terms of visual flamboyance, it more than makes up for in telling its simple and direct story with a raw, emotional power that doesn't need lavish spectacle in order to get its point across.

An intelligently staged and executed creepfest that takes one of the most universally compelling of notions — the unbreakable bond that exists between a mother and her children — and approaches it in such a formally and narratively bleak manner that it makes the works of fellow countryman Michael Haneke seeming almost benign by comparison.

As it turns out, "Norte" is not quite the epochal work of cinema greatness that some have suggested but it is hardly a miss either. There are moments of staggering beauty and power on display here and yet there are also moments when it seems to be ambling around with no clear idea of where it wants to go.

The result is a dark and stirring variation on the standard coming-of-age narrative that, much like its central characters, does not follow the path one might expect.

If watching a low-key portrait of a person struggling through a personal crisis with a refreshing lack of cheap melodrama sounds intriguing, well, that's exactly what director Kazik Radwanski has delivered with undeniably compelling results.

This is a strong film that tackles a charged subject in a fair and even-handed manner. The Force will give viewers of all social and political persuasions much to think about afterwards.

Those who are willing to give it a chance—and that would include thoughtful teenagers who would respond to a film that approaches their lives in a serious and reasonably non-judgmental manner—are likely to find it as fascinating as I did.

Ghost Elephants is a portrait of obsession that, while gentler than some of Herzog’s other works, is mesmerizing from the first moment to the last, yet another title of note in what remains one of the most incredible filmographies of our time.

Suspiria truly is one of the absolute classics of the horror genre and anyone who considers themselves to be true students of the cinema owe it to themselves to experience it for themselves, especially if they get a chance to see it on the big screen where it belong.

Despite my ostensible disinterest in the subject at hand, I found myself mesmerized by this spare, affecting, and powerfully humane work that may seem quiet and reserved, but which ends up packing a surprisingly powerful emotional punch by the end.

The film has an engrossing and powerful drama that is all the more effective for writer/director Vivian Qu’s refusal to keep the story from spinning off into lurid melodrama — all of the story points on display have the harsh bitterness of truth to them.

There is a timelessness to its explorations that makes it as rich and resonant today as when it was first released.

Whether one looks at it as a summation statement from an artist taking stock of their life and work at the end of their career or as another one of the brief cinematic diversions that he has taken on in between his feature projects, “It’s Not Me” is a reminder that Leos Carax is one of the most fascinating and formally interesting filmmakers working in the world today.

An ambitious but occasionally uneven animated film.

Sitting through it is like watching someone else playing a video game for two solid hours, and not an especially compelling one at that.

While the results will obviously not come close to resonating with the public in the manner of “Walk the Line,” My Darling Vivian does an admirable job of recounting the story of a woman who was ultimately far more than just a footnote in someone else’s life.

This is a work just as startling and potent as anything she has done to date — a powerful example of art being used to exorcise personal demons that is anchored by two stunning performances and some of the most gripping moments to be seen in any film so far this year.

The trouble is that while many of these bits and pieces are often fascinating, they never quite pull together into a truly compelling or satisfying narrative.

They (Assayas/Stewart) have managed to out-do themselves with a work as mysterious, moving and haunting as anything that has materialized in a movie theater in a while.

This is a soft-spoken but ultimately powerful work that makes the case for the importance of empathy in treating those with mental illnesses, and makes you hope that programs like the one depicted here will one day become the norm.

It has not lost an iota of its power to shock, amuse, and simultaneously perplex viewers. If anything, it seems to have grown even bolder with age in its willingness to take on sacred cows in the craziest manner imaginable.

I found the film to be an engrossing look at Zappa and his legacy that nevertheless avoids the mere hagiography that films of this sort run the risk of embracing when not handled properly.

The result will no doubt polarize viewers, as has been the case with his other major works, but it will certainly go down amongst those who see it as one of the most unforgettable films of this or any other year in recent memory.

To watch Possession again is to realize that it remains one of the most grueling, powerful, and overwhelmingly intense cinematic experiences that you are likely to have in your lifetime.

It offers up a deep and often fascinating dive into his oeuvre, utilizing a central conceit so nervy that most viewers will either marvel or recoil at its sheer audacity.

Viewers will find themselves entertained and curious to get home and see just how many of the records in their collections bear the creative imprint of these guys.

With his latest film, “House of Darkness,” LaBute tries something similar to "The Wicker Man." And while the results may not be nearly as outlandish this time around, they do make for an intriguing and occasionally quite witty battle of the sexes, in which not all of the bloodshed is strictly metaphorical.

Nina Forever subverts audience expectations at every turn and develops the kind of genuine emotional power that keeps it from being just another gory goof.

While the cast may not include any names that are familiar in these parts, they are all effortlessly charming and engaging throughout.

A quiet, heartfelt, and beautifully nuanced drama that feels unique and universal, featuring what will surely go down as one of the best performances of 2023.

As a whole, The Good Liar is not quite good enough to deserve the comparisons to the works of Alfred Hitchcock it's clearly aiming for, though it is just good enough to suggest what Hitchcock himself might have done with it on a second pass.

The results are uneven — how could they not be? — but the sheer weirdness of the whole enterprise has a charm to it and it certainly is never boring. Bewildering, maybe, but never boring.

Although some of the footage seen in “Porcelain War” is grim and hard to watch, the film is ultimately a celebration of the resiliency of the artistic spirit, even in the most horrifying of circumstances.

The Measure of a Man may be a hard film to watch at times, but with Lindon's great performance at its center, it is one from which you cannot look away.

The Trials of Muhammad Ali a unique and inspiring viewing experience.

One of its greatest pleasures is seeing how filmmaker Francois Ozon manages to find just the right note for such challenging material. He transforms what might have been a tonal nightmare in other hands into a wildly entertaining work, one that manages to be simultaneously funny, touching, slightly unnerving and undeniably sexy to behold, regardless of where your predilections may lie.

If your moviegoing needs are driven less by a need to "feel good" afterwards and more by a desire to see something that will grab and touch you in ways that you will not be shaking anytime soon, this is the movie for you.

This Italian import's title may make it sound like either a kids movie or a cooking documentary, but it proves to be a wild and compelling work that simultaneously evokes the influence of such disparate filmmakers as Terrence Malick, Werner Herzog, and Sergio Leone (not to mention a dash of “Broadway Danny Rose”-era Woody Allen) while still coming across as a fresh and unique cinematic vision.

There are moments of unexpected humor that blindside you.

Both sprawling and intimate, it tells a story dealing with life, love, friendship, mortality and, yes, AIDS, in a manner that is relentlessly and deliberately unsentimental in tone but which nevertheless proves to be quite affecting.

While the end result is certainly no masterpiece, it is still better than the average action potboiler and contains a couple of exhilarating set pieces that offer further proof—not that any is needed at this point—that De Palma remains one of the unquestioned masters of creating and executing moments of pure cinema.

One only has to go into his latest effort, Happy End, for a couple of minutes to realize that the old Haneke is back with a vengeance.

While the end result may not quite reach the heights that Miyazaki has regularly hit during his amazing career, it is nevertheless a worthy effort, filled with visuals that frequently dazzle the eye even if the story is more likely to inspiring the scratching of heads instead.

Despite its early unevenness, Only the Brave tells its story in a sincere and relatively non-exploitative manner that isn’t overly dominated by visual effects, and the cast does some very good work as well.

Instead of piling on contrivances and cheap psychology to move the story along, Kavtaradze keeps "Slow" situated in a refreshingly human level, respecting the intelligence of her characters and the audience.

Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around... We Are What We Are is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one.

Cuartas' film provides a generally interesting spin on both the vampire mythos and more typical dysfunctional family dynamics. And while I can't promise it will provide you with a good time at the movies, at least in the conventional sense, I can tell you it's one that's likely to stick with you for a while.

A smart and strong genre work that makes up for a relative lack of gore and viscera with plenty of tension and suspense and a number of impressive performances.

The Adventures of Buckaroo Banzai is your typical sci-fi/action/comedy/rock&roll/kung-fu/political satire/neo-western/guys-on-a-mission extravaganza.

The addition of Cage to the already heady cinematic brew definitively puts it over the top, making it the kind of cult movie nirvana that was its apparent destiny from the moment the cameras started rolling.

By and large, though, Only the Animals is an effectively convincing slow-burn thriller that marks the welcome return of Moll, who first made a splash with the wickedly entertaining thriller With a Friend Like Harry.

As the heart of the story, however, Sarah Snook delivers a knockout performance that calls on her to perform the kind of tricky scenes that could have resulted in bad laughs throughout if handled incorrectly. Not only does she pull off her performance brilliantly throughout—there is not one moment in which she is anything less that utterly convincing and believable.

While “Jim Henson: Idea Man” may not break any new ground regarding Hensonian research or documentary filmmaking in general, it should prove valuable to younger viewers curious to know more about the man behind so many beloved childhood icons.

Although it's undeniably well-made, it lacks the kind of energy that might have helped make it truly come alive, and seem like more than a historical reenactment.

While Juniper as a whole is not great, it has enough wit and intelligence to be better than it sounds. Most of all, it has Rampling, as captivating as ever; she proves once again that she can single-handedly take somewhat dubious material and make it eminently watchable.

This is an uncommonly smart, well-made and ultimately touching meditation on grief, revenge and the ordinary perils of adolescence that should resonate strongly with adults and thoughtful teenagers alike.

In reality, this is the kind of low-key gem that horror fans are always looking for but so rarely find — one that is smartly conceived, visually stylish and genuinely creepy at times.

While A Master Builder never really catches fire as a film, it is still more or less worth watching.

The result is an occasionally strange, occasionally brutal and occasionally lovely work that goes up on the shelf with "The Ocean of Helena Lee" and "Girlhood" as one of the more impressive coming-of-age tales of recent times.

While the results inevitably pale in comparison to "The French Connection" — which could be said about virtually every other film currently in release — they do make for an above-average work that offers viewers a new perspective on a familiar story.

It isn’t bad, per se, but I just never felt the emotional impact it's clearly hoping to achieve.

A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never quite manages to turn that particular corner.

It's impressively staged, especially considering the low budget, and contains a number of action beats that put their high-priced Hollywood competition to shame.

The film as a whole just never quite overcomes the inherent familiarity of its premise to become its own unique thing. Those looking for a story equal to Cranston’s contributions to it are liable to come away from it feeling slightly disappointed.

As the saying goes, I may not know art, but I know what I like. I like this movie.

Whether or not Blanco is able to save his factory, Bardem is able to navigate the narrative missteps surrounding him and ultimately make "The Good Boss" worth a look.

Those willing to give No Future a chance will find it to be a fairly smart and realistic depiction of two people consumed by grief, guilt, and loss and the misguided ways by which they attempt to come to terms with those feelings.

Alas, it also contains many of the same inherent flaws as most movies of this type, and not even the genuinely good and powerful aspects on display are quite able to overcome the more troublesome elements.

Aan odd fusion of an earnest socially conscious drama and a B-movie mystery programmer that never quite comes together despite a strong performance from Adele Haenel at its center.

This is an interesting concept in theory and for a while, it is undeniably compelling to watch, aided in no small part by a couple of strong performances at its center.

Body Brokers was clearly made with good intentions, but while it might still fill you with anger towards the predatory aspects of the rehabilitation industry, you'll also be upset that the script is not nearly as great as it could have been.

Ultimately, Greenland never comes together into a truly satisfying package, but it deserves a little credit for trying to do something unique within such a familiar framework.

This decidedly dark and super-violent South Korean crime drama from Kim Sung-su tells a tale so jam-packed with betrayals, double-crosses and alleged authority figures that even the most dedicated of genre buffs may find it too unrelentingly grim and cynical for their tastes.

The end result is a film that may not rise to the level of “Don’t Look Back” or “Truth or Dare” but still manages to create a sense of intimacy and revelation, even as we sense that there is really no such thing as an unguarded moment for Lady Gaga.

On the one hand, it never quite works in a conventionally satisfying manner—it is wildly uneven, occasionally obtuse and it never quite seems to have a solid grasp on what it is trying to say. On the other hand, it still manages to register in a number of unusual ways thanks to its haunting visual style, offbeat tone, and its intriguing method to put us into the disintegrating mindset of its central character.

This is not a film for everyone by a long shot. Still, those willing to take a chance and embrace it on its own very distinct and occasionally deranged terms are likely to find themselves agreeing with the ultimate assessment of Mirren, who once described it as “an irresistible mix of art and genitals.”

The major problem with That Summer is the inescapable fact that it only barely qualifies as a movie.