Saraa2004

What's amazing is the raw honesty of it all -- the performances, the interviews, the spontaneous occurrences. There is little artifice. The 70mm print is must-view material for rock fans and sociologists of any age or generation. [1994 version]

While it connects as authentic and heartfelt, there’s also a sneaky profundity to match. Experiencing that in a theater alongside strangers is a very good thing.

The use of body horror allegories in cinema to address the physical, physiological, and mental changes brought on by puberty could hardly be called original. However, by delightfully and intelligently remixing symbols and metaphors Malaysian director Amanda Nell Eu refreshes the concept in her zesty debut feature Tiger Stripes.

Ultraman: Rising is a contender for best animated movie of the year, one of the best superhero movies in years, and one of the all-time greatest American adaptations of a Japanese franchise.

Like sequels of beloved movies, puberty can either be terrific, passable or really ****. So, while Riley, the lead character in Pixar’s Inside Out, has a rough-ish start to adolescence, the sequel Inside Out 2 — I’m relieved to say — is terrific.

The threat posed by women who think for themselves to the absolute power of men is a central theme in this starch-free tale of Tudor intrigue, its protofeminist perspective seamlessly woven into the narrative fabric without a hint of the didactic.

The big picture here is so elusive and vast that it helps Cowperthwaite to have a few intrepid investigators to follow, letting their research drive the shape of the film (which, when you unpack it, must have been one hell of a task to structure).

It’s hard to understand the emotions coursing through Marvin’s body, as it’s wrapped in gaffer tape or barbed wire in a series of improvised exercises in fashion-as-armour. She admits to fear, but never to doubt as she embarks on her single-minded mission to subvert Russia's remorselessly anti-LGBTQ+ agenda.

On paper, Late Bloomers may not be a revolutionary tale, but its execution makes it a clear standout within this specific sub-genre of nihilistic millennial dread.

Banel & Adama is a striking debut that puts Sy on the map as a purveyor of deceptively gorgeous visions that show flimsy desires at the mercy of the social, and literal, weather.

Furiosa: A Mad Max Saga is not likely to make the same rounds at the Academy Awards as its predecessor. But it remains a winning formula. And when someone tells you that it has the best action sequences put to film—believe them.

As Maria, Burow shines in a phenomenally demanding role that challenges us to tune in empathetically to a character whose actions and motives are rarely less than problematic, but are always limned with a fine brush.

A blast of pure pleasure and one of the year’s best films, “Hit Man” should be seen with a crowd grooving on its devilish comic energy, its off-the-charts sexual chemistry and the star-making turn at its center.

Dorothy Lewis, the subject of director Alex Gibney’s collagist masterpiece Crazy, Not Insane, is out to demolish “the myth of pure evil.” As such, she may be among the most dangerous women in the world. She is certainly a “pioneer,” as one colleague calls her, adding that pioneers are often not treated very well.

Cemetery is primarily a slow and lovingly detailed immersion in the sights and sounds of the jungle and the mahout’s devoted attention to his animal.

Given that “Ghosts” runs a compact 80 minutes, there was room to further explore the many tentacles of the film’s intricate, delicate topic. Still, this is vital territory that will open less initiated viewers’ eyes to the deep commitment and dramatic lengths it can take for many gay couples to become parents.

It poetically folds Hindu myth into a story of self-discovery, “coming out” and finding oneself and love, a journey that is a rocky road indeed in Levin M. Sivan’s film.

All Joking Aside gives us but a glimpse of the pain behind the smiles, but like an evening at a comedy club, leaves us with a good-natured grin.

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.

The actress playing Jade, Vicky Knight is a burn victim herself. It lends a realism to the movie that makes it by turns heartbreaking and inspiring.

While mostly pulling off this tricky balancing act of humor and real-life horror, the film doesn’t quite go far enough in its critiques.

For those willing to spend ninety-plus minutes with Herzog as he riffs on the wonders of space, “Fireball” is a heartfelt tribute to scientific exploration.

Yet The Life Ahead works admirably well — meaning you’re reduced to soggy Kleenex but honestly — in large part because of the grounded, magnetic performances of the two leads.

As he did in Lilting, Khaou in Monsoon finely sketches the complex inner lives and identities of a small group of characters and plugs them into a narrative that unfolds gradually but precisely, so audiences have the time to consider the work's larger thematic concerns.

This is a nifty little gem in the heist genre, with the familiar message about the perils of greed and always wanting more and more and even more.

It's a beautiful movie that is easy to watch, everything is beautiful, you won't get bored no matter how many times you watch it. Because it is very good.

Utterly original and utterly excellent, the modern bromance The Climb is a thrilling ride, an unconventional and idiosyncratic American film that acts like a old-school arty European one.

Proxima is a well-considered story about the cost of ambition, intimate in contrast with its scope, and frankly a great depiction of what it’s like to be the kid caught between parents and careers.

The Informer is one of the year’s more pleasant genre surprises: a clenched fist of a crime thriller in the mode of The Departed or The Town, in which every element is just a notch smarter than you’d expect. Generic though the film may look, it holds together absorbingly, thanks to a sturdy script which ups stakes and adds characters with cunning and intelligence.

Найруулагч, хамтран зохиолч Андре Овредал (Троллийн ангууч, Жэйн Доугийн задлан) энд "анхны түүх"-ээр үнэлэгддэг ч бүх элемент бүрийг зээлж авсан бөгөөд мөнх бус байдлын тухай нандин зүйл үлджээ.

Lane and Costner are swell, but the film jolts to life the second we walk into Blanche’s dimly lit kitchen, occupied by even dimmer men. The villainous Manville acts like a rooster, clucking, crowing and, worst of all, pecking. A sickening scene in a motel won’t have you taking the kids to South Dakota anytime soon.

MisfortuneMETASCOREAvailable after 4 critic reviewsUSER SCOREUniversal AcclaimBased on 5 User Ratings10.0My ScoreDrag or tap to give a ratingAdd My ReviewSummaryThis adaptation of Erik Jensen's award-winning biography of Adam Cullen is the story of the biographer and his subject, as it descends into a dependent and abusive relationship.BiographyDramaDirected By: Thomas M. WrightWritten By: Erik Jensen, Thomas M. WrightWhere to WatchPrime Video(Subscription required)All Watch OptionsTop CastSEE ALLDaniel HenshallAdam CullenToby WallaceErik JensenGillian JonesRuth MarrRobyne SpicerCommuterMatthew DewarCommuterGeneviève LemonCarmel CullenJames BellBenMax CullenKevin CullenRenee BoissettLauraLouise KellyGrieving MotherChristopher CliftGrieving FatherAlbert van GestalSpaniardBronwen KempField PhotographerNicholas CollinsKid on BikeHenry BeckettGareth JonesLinda WeavingMotherEdward MeskanenBoyChristopher NevilleFatherAndrew McDonellTaxi DriverVivian WeiErik's SisterView All Cast & CrewCritic ReviewsVIEW ALLAll ReviewsPositive ReviewsMixed ReviewsNegative Reviews100The GuardianAUG 14, 2018This is an enthralling drama: the best and most interesting Australian biopic since Chopper in **** Luke BuckmasterFULL REVIEW90Screen DailyNOV 5, 2020Once the recipient of the country’s top portraiture prize for his likeness of David Wenham, the provocative painter Adam Cullen is now the recipient of a blistering, no-holds-barred cinematic portrait that, like his artwork, relentlessly flouts convention, inspires questions and courts a strong, complicated reaction.Read MoreBy Sarah WardFULL REVIEW90The Hollywood ReporterNOV 5, 2020Of obvious interest to arthouse audiences in Cullen, Wright and Jensen's native Australia, this ambitious and stimulating glimpse into the dark abyss of creativity deserves widespread international exposure at festivals and via receptive theatrical **** Neil YoungFULL REVIEWUser ReviewsVIEW ALLUSER SCOREUniversal AcclaimBased on 5 User Ratings10.0100% Positive5 Ratings0% Mixed0 Ratings0% Negative0 RatingsThere are no user reviews yet. Be the first to add a **** My ReviewDetailsProduction CompanyArenamedia, Blackheath Film, Plot MediaRelease DateNov 3, 2020Duration1 h 31 mRatingUnratedGenresBiographyDramaTaglineA dramatised portrait of the late Australian artist Adam Cullen.View All DetailsAwardsAustralian Film Critics Association Awards• 2 NominationsFilm Critics Circle of Australia Awards• 2 NominationsMelbourne International Film Festival• 1 Win & 1 NominationRelated MoviesLawrence of Arabia (re-release)100Universal AcclaimThe Passion of Joan of Arc98Universal AcclaimMy Left Foot97Universal Acclaim12 Years a Slave96Universal AcclaimThe Social Network95Universal AcclaimSchindler's List95Universal AcclaimMr. Turner94Universal AcclaimThe Irishman94Universal AcclaimThe Wild Child94Universal AcclaimWe Were Here94Universal AcclaimCarlos94Universal AcclaimReversal of Fortune93Universal AcclaimCrumb93Universal AcclaimSpotlight93Universal AcclaimThe Diving Bell and the Butterfly92Universal AcclaimClose-Up92Universal AcclaimThe Act of Killing92Universal AcclaimQuiz Show92Universal AcclaimGoodfellas92Universal AcclaimThe Look of Silence92Universal AcclaimTime91Universal AcclaimFlee91Universal AcclaimRelated News2024 Movie Release CalendarJason DietzmovieJune Movie PreviewKeith KimbellmovieDVD/Blu-ray Releases: New & UpcomingJason DietzmovieCannes Film Festival 2024: Best and Worst FilmsKeith KimbellmovieEvery Francis Ford Coppola Movie, RankedNick HymanmovieOverviewAboutHelp CenterCareersPrivacy PolicyDigital Services ActTerms of UseCookies SettingsFollow Us Explore Other BrandsVideo and Images from IVA & XperiMovie title data and credits provided byIMDb logo 2024 FANDOM, INC. ALL RIGHTS RESERVED.90Screen DailyAcute Misfortune Critic ReviewOnce the recipient of the country’s top portraiture prize for his likeness of David Wenham, the provocative painter Adam Cullen is now the recipient of a blistering, no-holds-barred cinematic portrait that, like his artwork, relentlessly flouts convention, inspires questions and courts a strong, complicated reaction

It’s a case study in the difference between smart writing with pathos and wit, and witless imitation, between “barely adequate” child actors and ones with charisma that the camera catches

While “Aliens Abducted My Parents” can be a little rote, its greatest function isn’t as a delivery system for drama, or humor, or even coming-of-age clichés. This is one of those movies about young people where, regardless of whether you like it or find it a little bland, you’re grateful that it introduced you to these cast members.

We’ve seen the bones of this creature before, for sure, but some terrific GGI monsters, swampy scares and Driver’s committed performance make 65 a snap-toothed popcorn multiplex movie which, at 93 minutes, is sprightly in comparison with its lumbering rivals.

There is an earnestness within how the story is told and an attention to detail that is increasingly lost in the world of high-definition digital filmmaking. The movie may have its rough edges and shortfalls, but it effectively captures the underbelly ****.

This charming story . . . has a deft, audience-friendly lightness of touch, focusing on Armenia’s people rather than its difficult history. Nevertheless, it firmly makes its points about displacement, cultural cleansing and the difficulties of returning home.

Amanda is absurd and abrasive, but also sympathetic thanks to Porcaroli’s performance. She’s a flaming narcissist with a gooey core of vulnerability, a being forged by the fear of making herself known.

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The banter in Convery’s script is entertaining, but it’s truly the actors under Affleck’s excellent direction that makes Air feel like something special. It doesn’t nail every scene or sentiment; but when the film is good (which is often), it’s on fire.

A spy with a mysterious past is on a mission to uncover the truth about a dangerous terrorist organization.