Monster teems with humanity, using its narrative structure to uncover something prescient and devastating about modern morals.
Author: Prabhjot Bains
Jonathan Glazer’s The Zone of Interest is one of the most damning portraits of human consciousness ever committed to celluloid.
The Boy and the Heron is a mature, solemn, and jubilant meditation on loss and legacy, one that deems death to be a transitory act.
Justine Triet’s Anatomy of a Fall, like the most resonant of art, reflects life in all its ambiguity back at us at every opportunity.
For as much as Tom Harper’s spy-actioner Heart of Stone attempts to emphasize humanity, as a film it’s deeply bland and hollow.
Oppenheimer not only breathtakingly marries the sonic with the visual but makes it an explosive volley of indicting conversations.
Mission: Impossible— Dead Reckoning Part One fully acknowledges its existence as an incomplete movie, it unearths itself as anything but.