All Star wants is any chance at all. That, however, is where the similarities end. Krisha does more than announce a potentially major new talent; it shakes new, and tragically devastating, energy into the dysfunctional family drama. For those not experiencing that reality on a daily basis, it can very easily become an abstraction.
Several years after the factory closed, a Chinese company called Fuyao moved in, hiring back many of the employees of the old plant and offering hope to an economically depressed community. The American workers would help build windshields for cars and, ideally, along the way discover that Chinese and American employees can live together in harmony.
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Early on, we can surmise that things may not work out: The Chinese bosses note derisively to their cohorts that the Americans have fat fingers, while the American workers feel alienated by motivational slogans put on the walls in fractured English. American Factory is a portrait of how two cultures clash—not violently or maliciously or even intentionally. Nonetheless, divisions start to form, and overriding financial interests take precedence over individuals, resulting in employment shakeups for both workforces.
Even their conclusions are measured, if also dispiriting. Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence.
Gone is the precision of combat of The Raid , replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith. Evans correctly concludes that this form of violence is far more frightening. Cop Car Year: Director: Jon Watts A lean, rugged neo-noir that tweaks genre conventions by putting two young boys at the center of its attention, Cop Car opens with credits shimmering like police lights.
They decide that the car has been abandoned. Apparently having both run away from home, the two speed around the cow-populated landscape like juvenile delinquents unconcerned about the potentially serious consequences of their actions. Such uninhibited, devil-may-care recklessness gives the material an immediate jolt of peril, even before Watts rewinds his tale to reveal the origins of the car and its owner.
The director first gained international acclaim with his masterpiece Kes , the tale, both heartbreaking and invigorating, of friendship between an introverted poor kid and his kestrel. I, Daniel Blake drips with compassion and positivity without ever becoming cynically mawkish. The film would join the pantheon of mids comedies—most notably Anchorman and Step Brothers —that created a white-adolescent-boy language made up entirely of lewd, absurd references. A buddy comedy built atop the premise of a man Paul Dano lugging around, and bonding with, a flatulent talking corpse Daniel Radcliffe —but cinema is a medium in which miracles are possible, and one such miracle occurs in Swiss Army Man.
A film with such a seemingly unpalatable concept becomes, against all odds, a near-profound existential meditation. Witness with amazement what bizarrely heartfelt splendors its creators will come up with next. Quite the contrary, her movie is refreshingly candid and self-critical: She may be the star of the show, but she has a story to tell and the right perspective to frame it properly. Tan narrates the documentary as a memory piece, recounting her childhood in Singapore with her best friend Jasmine, where they were the two cool kids in their pretty square school, dreaming of being filmmakers and leaving their mark.
In her late teens and perhaps smitten with this man who showed her such attention—the documentary is cagey on the subject—Tan was intoxicated by the rush of making a film that she wrote and would be the star of. The documentary traces the strange, mysterious journey of the project, which was waylaid by Georges sneaking off with the reels of film with a vague promise of finishing the work.
That never happened, and 20 years later Tan decides to open those old wounds, connecting with her old friends and trying to determine what became of Georges. But the documentary ends up being less about tracking down the film canisters than being an exploration of nostalgia, friendship and the allure of mentors. Tan is lively, self-effacing company throughout—her voice has just the right sardonic tinge—but her visits with Jasmine and Sophia are particularly lovely and illuminating, suggesting how lifelong pals can see us in ways that we cannot.
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Ex Machina Year: Director: Alex Garland While popular science-fiction films have taught us that, no matter what we do, robots that become self-aware will eventually rise up and kill us, recent advances in artificial intelligence in the real world have confirmed something much seedier about the human imperative: If given the technology to design thinking, feeling robots, we will always try to have sex with them. Taking cues from obvious predecessors like A Space Odyssey and AI —some will even compare it to Her — Ex Machina stands solidly on its own as a highly stylized and mesmerizing film, never overly dependent on CGI, and instead built upon the ample talents of a small cast.
Garland interprets the phrase literally: Here, that machine is a robot named Ava, played by Swedish actress Alicia Vikander, and that nowhere is where her creator, Nathan Oscar Isaac , performs his research and experiments. Ava is a heavenly mechanical body of sinewy circuitry topped with a lovely face, reminiscent of a Chris Cunningham creation.
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Her creator is an alcoholic genius and head of a Google-like search engine called Bluebook which has made him impossibly rich. Nathan also intends to use Caleb to conduct something of a Turing test on steroids with Ava to determine if she can truly exhibit human behavior. A more conventional film would have love resolve the chronological predicament, but instead, it falls to TV personality Phil Murray to become the best version of himself he can possibly be in order to be with Rita Andie McDowell.
Casting JonBenet Director: Kitty Green An unlikely cross-section of humanity also populates Casting JonBenet , which boasts a provocative idea that yields enormous emotional rewards. As Charlie knows too well care of his Catholic upbringing, the sins of the past always catch up to collect. With Mean Streets , Scorsese crafted an indomitable ode to his home, an apologia for the hypocrites on his street that could never outrun their fate, the urban monoliths of their immigrant experience always closing in.
We can only be applaud its daring. If Dostoevsky was re-framing the Christ narrative, Happy as Lazzaro re-frames the very idea of a Christ narrative until it is something else entirely. Here, Christ is a mythic wolf and our kind idiot Lazzaro Adriano Tardiolo is a touched Lazarus; the difference between them is a matter of substance, time and place.
Lazzaro tries to follow, perhaps foolishly, perhaps blindly…but happily, nonetheless. They know that eventually the matters of her husband and children, plus their extended family, must be reconciled. Avengers: Infinity War Year: Directors: Anthony Russo, Joe Russo Avengers: Infinity War is epic in a way that has been often aspired to but never fully grasped when it comes to the translation from comic book panel to the Big Screen. As a result, writers Christopher Markus and Stephen McFeely have ample room to riff and play as characters meet for the first time or see each other again.
Strange and Downey Jr. Being a woman in public is bad for your health in Kabul. So is educating women.
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Need outweighs risk. So she adopts a pseudonym on advice from her friend, Shauzia Soma Bhatia , who is in the very same position as Parvana, and goes about the business of learning how to play-act as a dude in a world curated by dudes. Twomey gives The Breadwinner ballast, binding it to the real-world history that serves as its basis, and elevates it to realms of imagination at the same time.
Incredibles 2 Year: Director: Brad Bird Incredibles 2 starts right where the first film ended, with the costumed Family Parr reacting to the arrival of the Underminer John Ratzenberger. Their scuffle with the villain gains the attention of Winston Deavor Bob Odenkirk —or more precisely, allows Deavor and his sister, Evelyn Catherine Keener , to gain the attention of the Parrs.
To do so, they want to enlist Elastigirl Holly Hunter as the tip of the spear in their charm offensive, leaving Mr. Incredible Craig T. Nelson on the sidelines for now. She tends to fight crime in a manner that results in less property damage than her husband, after all. The family interactions, one strength among many with the first film, remain a delight in the sequel. Watching Elastigirl operate almost makes one feel sorry for the criminals. Delving more into the plot would do the film a disservice—suffice to say both villainous and family challenges are faced, and it takes a village, Frozone Samuel L.
Jackson and Edna Mode Bird to emerge victorious. Coco Year: Director: Lee Unkrich With the release of Coco , the 19th film from Pixar Studios, there are at least two questions the answer to which every member in the audience can be certain of before that desk lamp comes hopping across the screen. Will the voice acting be superb, enhancing the aforementioned animation in every way? You bet it will! Inside Out and Finding Dory were home runs, but in between, there was The Good Dinosaur a weak infield popup, at best.
Star Wars: The Last Jedi Year: Director: Rian Johnson The Last Jedi , unlike its predecessor, has the freedom to be daring, and perhaps the most thrilling thing about it—and there are many, many thrilling things—is how abundantly it takes advantage of that freedom. If The Force Awakens was basically just Star Wars told again in a new, but familiar way, The Last Jedi challenges the audience, challenges the Star Wars mythos, even challenges the whole damned series itself. It blows the universe up to rebuild it; it is a continuation and a new beginning. And more than anything else, it goes places no Star Wars film has ever dreamed of going.
In a way, the success J. That movie reminded you how much power and primal force this series still had. This movie is an even more impressive magic trick: It uses that power and force to connect you to something larger. Not everything in The Last Jedi works perfectly, but even its few missteps are all founded in the desire for something new, to take risks, to push an American myth into uncomfortable new directions.
One could trace his films, from his debut Kicking and Screaming to the one before Frances Ha Greenberg and see a slow but increasingly steady focus on the individual, as well as his abandonment of an ironic, sometimes caustic stance against the very characters he writes. He has settled down and created a film imbued with love, fun and melancholy.
Critical examination aside, it truly is a frightening film, from the scene where Cole is locked in a box with an abusive ghost to the little moments I always found the scene where all the kitchen cabinets and drawers open at once while off-screen to be particularly effective. For better or worse, though, this is the defining film of M.
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Rarely has the danger of success been so clearly illustrated for an artist—Shyamalan crafted a scary film that still holds up today, and then spent most of the next decade chasing that same accomplishment with rapidly diminishing returns that have only recently been rehabilitated with the likes of Split. They have attention to detail, but they are not delicate in their handling.
They have multiple intentions, and they bring those intentions together to jam. Okja is also not a film about veganism, but it is a film that asks how we can find integrity and, above all, how we can act humanely towards other creatures, humans included. The answers Okja reaches are simple and vital, and without really speaking them it helps you hear those answers for yourself because it has asked all the right questions, and it has asked them in a way that is intensely engaging.
Christian Slater whipping out a gun on some school bullies in the lunch room, or Veronica Winona Ryder passively lighting her cigarette with the flames licking from the explosion of her former boyfriend. Although nearly all the action sequences are wonderfully exhaustive and memorable, the final fight , as one should expect, is a breathless show-stopper. Alexander Smith.
Then along comes Thor: Ragnarok.
Private Life Year: Director: Tamara Jenkins A rich film with the confidence to take its time, allowing its characters to unfurl and its themes to grow and develop, Private Life is a quietly remarkable comedy-drama about family, marriage and getting older. To accomplish all that, writer-director Tamara Jenkins uses as her entryway a familiar scenario: a something couple struggling to have a baby. Giamatti and Hahn play Richard and Rachel, who have been married for quite some time, each of them enjoying a satisfying creative life in New York City.
Private Life devotes a significant amount of its early running time to showing how couples such as Richard and Rachel undergo IVF, which has its comic moments but is largely depressingly clinical. Adding to the despair are the long lines of other expectant couples Richard and Rachel see in the waiting rooms sitting alongside them.
Did they focus on their art at the expense of parenthood? Now that the shine is off their early creative success, is their barrenness another indication of their growing irrelevance?