There is no explanation, no backstory just observation enshrouded in mythic layers of beautiful cinematography. Everything is left to interpretation, which is both besides the point and probably is the point.
Boundaries implies it’s a film with no boundaries or trying to find it boundaries.
The latest adaptation of White Fang, now streaming on Netflix, tries to maintain a balance between London’s naturalism and family dog domestication.
When the expected Deliverance moment comes it is both false and awkwardly right. They all get through the rapids not shattered, just a little bit better men, friends and maybe understanding and appreciative parent and child.
Ant-Man and the Wasp is at its best when it stays just the right size.
Director Andrew Haigh doesn’t elevate the story with sappy sentiments and phony triumphs. Instead he delivers an elegiac rendering of the death of childhood.
By foregrounding the true story of Caroline Weldon (Jessica Chastain) an activist and actual portraitist of Sitting Bull (Michael Greyeyes), the director (Susanna White, an HBO veteran) and screenwriter (Steven Knight, Allied) insert artsiness in an attempt to elevate Woman Walks Ahead beyond its Western cliches.
American Animals is more of a dissection of a heist than it is an actual heist film.
King of Peking (streaming on Netflix) proves that the best buddy films are created by fathers and sons.