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  • Avengement

    Avengement

    ★★★

    Scott Adkins escapes a prison furlough for a revenge mission and goes around beating people up with a single-mindness that approaches a Dardenne character in their forced road for redemption. Very brutal and simple. Spare directed by Johnson and acted by Adkins with ugly conviction. If this is limited some is that by character design the action is all brutal brawls with little of the martial arts choreography one would expect from a top tier Adkins vehicle. There's no place here for the beauty of bodies in motion, just relentness bone crunching. Probably he best compromise between Adkins and Johnson different sensibilities among their collaborations.

  • Captain Lightfoot

    Captain Lightfoot

    ★★★

    Douglas Sirk doing typical Swashbuckler fluff from mid 50s. This doesn't quite have the pulp energy of the very best entries on the genre, but the Technicolor cinemascope is pure 50s Sirk.

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  • Roma

    Roma

    ★★

    Roma has two very diferent impulses: one is trying to make a larger panel of Mexican society at the turn of the 70s with Cleo serving as it center and the other a nostalgic reverie, one that uses its aesthetic tour de force to justify every fetishistic detail it can throw at the audience. Cuaron knows his title will bring to mind Fellini who often also operate into such impulses, but as much as I think Fellini's navel gazing can…

  • Phoenix

    Phoenix

    ★★★★½

    "We're late, darling, we're late
    The curtain descends, everything ends too soon, too soon"

    One can't stop history. Come for Vertigo by way of Fassbinder, stays to be complete emotional devasted. Literally physical painful to sit through at times. The best thing about Petzold spare staging, the way his images can both feel charged with history and emotionally naked might have never been put to such good use. Also, Nina Hoss is beyond words (Zehrfeld is pretty great in a tricky role as well);

    Literally greatest drop the mic ending ever.