Hollywood tries to squeeze blood out of the stone that is “Kong: Skull Island”
Jordan Vogt-Roberts, “Kong: Skull Island” (2017) An example of how post-2000 Hollywood is squeezing as
Jordan Vogt-Roberts, “Kong: Skull Island” (2017) An example of how post-2000 Hollywood is squeezing as
Australian and New Zealand Films
Henri Safran, “Storm Boy” (1976) A moody and melancholy film, ostensibly about a lonely boy
Francis Ford Coppola, “Bram Stoker’s Dracula” (1992) A visually lavish and often surreal presentation, Francis
Desiree Akhavan, “The Miseducation of Cameron Post” (2018) Set in 1993, this coming-of-age drama follows
French and French-language Films
Mia Hansen-Løve, “Un Beau Matin” / “One Fine Morning” (2022) One fine morning in Paris
British Films | North American Films
Sam Mendes, “SPECTRE” (2015) As James Bond films go, “Spectre” looks gritty and stylishly in
French and French-language Films
Alice Diop, “Saint Omer” (2022) At first presenting as a dry courtroom drama cum psychological
Chris McKay, “Renfield” (2023) A cheerfully cheesy vehicle for Nicolas Cage to finally fulfil his
Brandon Cronenberg, “Infinity Pool” (2023) Take away the extreme violence, the scenes of sleazy sex
William Crain, “Blacula” (1972) In 1780, a noble African Prince (William Marshall), known as Mamuwalde,