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Barton Fink (1991)
Within the spectacle, symbolism, and absurd formal patterns of Barton Fink, the Coen Brothers expose one aspiring screenwriter’s intellectual hypocrisy, trapping him in a hellishly elusive puzzle box beyond comprehension.
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We Live in Time (2024)
There is a strange comfort in the grieving process that We Live in Time’s non-linear narrative prematurely initiates, looming the threat of terminal illness over a pair of devoted lovers, while savouring every celebration, argument, and tender reconciliation which ever defined their relationship.
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Sing Sing (2024)
Through Sing Sing prison’s rehabilitative theatre program, Divine G and his fellow inmates find realer versions of themselves beyond guilt and anger, as Greg Kwedar’s casting of the real men that this story is based on uncovers a raw, vulnerable authenticity.
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Blitz (2024)
What hope there is for a culture under attack from foreign enemies and its own internal prejudices seems meagre in Blitz, yet the bond between a lonely mother and her lost child perseveres, as Steve McQueen tenderly illuminates humanity’s darkest hour with a loving, maternal radiance.
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The Apprentice (2024)
Between Donald Trump’s rising star and his overshadowed mentor Roy Cohn, there is an almost Shakespearean dynamic to the dual character arcs in The Apprentice, transcending mere parody and painting a surprisingly fresh portrait of a culturally dominant, larger-than-life figure.
