Coppola’s ‘Megalopolis’ Is a Trivial Goof Pretending at Ambition
Francis Ford Coppola’s bonkers “fable” about the clash of dreams and cynicism, Megalopolis, has a potent but unfounded belief in its importance.
Francis Ford Coppola’s bonkers “fable” about the clash of dreams and cynicism, Megalopolis, has a potent but unfounded belief in its importance.
The Barcelona School made avant-garde films nobody could understand, such as the pop art 1960s mash-up, Fata Morgana. But it sure looks good.
Arch Oboler’s Bwana Devil kicked off the 1950s 3D movies craze with a man-eating lion story, and 70s years later it’s trying to get its claws into audiences.
Nathan Silver’s 1970s-styled throwback Between the Temples is a comedy of people awkwardly fumbling toward purpose, faith, and meaning.
For his teen horror film Cuckoo, director Tilman Singer tries to tame his wild and creative imagination into something more commercially friendly, with mixed results.
Alain Robbe-Grillet’s Playing With Fire marks a curious effort when considered in the scope of cancel culture today, yet it compels nonetheless
Ant Timpson and Toby Harvard’s Bookworm effuses charm and humour, and reveals the Jekyll and Hyde-like sides of their creative personas.
René Laloux’s conformity-challenging animated sci-fi The Time Masters resonates with Hayao Miyazaki films and Jack Vance novels.
Initially dismissed as a film for children, Misunderstood reveals some mature ideas about childhood and family and would sit better with adult audiences.
Unlike how her subject’s music can be, Irene Taylor’s biography I Am: Céline Dion is not a mournful drama. That doesn’t mean it’s easy.
Thriller short film The White Rabbit ensnares viewers with a joke, a nightmare, and an illusion in a sly interplay that evokes Hitchcock’s Rear Window.
In Emilio Fernández’s Victims of Sin, a galaxy of important Mexican film and music artists collaborate on a tale of mambo music, martyred mothers, and melodrama.