There is not that much violence in J.C. Chandor’s gripping crime drama, “A Most Violent Year,” a film that often feels gritty rather than bloody or grisly.
It’s unfair that “The Interview” was embroiled in this controversy, as it only created inflated expectations for a film that does not even attempt any bold political satire.
Discomfort is definitely the feeling one experiences when watching director Ruben Östlund’s “Force Majeure,” a Swedish film that follows a family on vacation at a ski resort in the French Alps.
There’s a moment in “Citizenfour,” a documentary that follows journalist Laura Poitras as she works with Edward Snowden to leak information about the National Security Agency surveillance program, that encapsulates the paranoia and darkness at the film’s heart.
Though the first half of the film connects viewers to Strayed’s life and confides in them her past struggles, it is missing the resolution that makes her 1,100 mile hike worth it.
As a Hollywood satire from a director who’s known for his bleak films, “Birdman” could have been a laborious exercise in despair. Luckily, the film flies high.
In “Whiplash,” director Damien Chazelle leaves the audience battling the question: “Is it worth becoming a psychopath if great art results?”
With hard-hitting themes and cultural vibrance, “The Book of Life” joins the ranks of the growing body of animated movies that have abandoned cliche and antiquated sentiments of what it means to be a princess, petitioning for representation of a wider spread of cultures in film.
A mesmerizing tale of marriage, manipulation and the thirst of the media, David Fincher’s “Gone Girl” is a strong contender for movie of the year.
“Wetlands” follows the exploits of sex-obsessed teenager Helen Memel (Carla Juri), who spends her time experimenting with various sexual escapades while scheming to reunite her separated parents.