![‘Bird’ Review: Andrea Arnold’s Disappointing Shift Into Magical Realism [Festival du Nouveau Cinéma 2024]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1729966715231-RY70K6BXW6YBTW0ZHBSD/ezgif-6-aa2baecb29+%281%29.jpg)
Andrea Arnold turns her social realist lens into a magical one with ‘Bird’ and fails at drawing any meaningful arcs on its central characters despite a constantly assured stylistic touch.
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![‘The Seed of the Sacred Fig’ Review: Mohammad Rasoulof’s Act of Defiance [Festival du Nouveau Cinéma 2024]](https://images.squarespace-cdn.com/content/v1/5816af52e6f2e15be207b0cd/1729372008016-V0L185Q36CFK7495MKE8/ezgif-5-095c126ddb.jpg)
Mohammad Rasoulof confronts and rejects state propaganda in his daring and courageous The Seed of the Sacred Fig and makes the most critical piece of political media of the decade so
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Samara Weaving keeps the blood count piling up in E.L Katz’s 'Azrael', but the film’s silent gimmick hampers its momentum.
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Sebastian Stan continues to do great work in the independent sphere with an often engrossing, though underwhelming, character study in Aaron Schimberg’s ‘A Different Man’.
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While director Natalie Erika James imbues 'Apartment 7A' - her prequel to Rosemary’s Baby with enough surreal imagery to keep us invested, it’s unfortunately hampered by an uninspired – and predictable – story.
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While 'His Three Daughters' contains strong performances from its trio of lead actresses, writer/director Azazel Jacobs puts them in cyclical situations that never fully forms an emotional center with the event they’re going through.
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While the contemporary remake of 'The Killer' may not reach the heights of the 1989 original, John Woo’s penchant for visual poetry through action remains unmatched, as he reinterprets his cruel story for a more hopeful, miraculous one.
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While 'Blink Twice' possesses an assured sense of style and is bolstered by impeccable performances from its star-studded cast, the film doesn’t say much about the subject it presents.
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While Mark Wahlberg and Halle Berry have some instance of palpable chemistry, the two can’t save 'The Union' for being nothing more than another cog in the ever-growing Netflix algorithm.
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While ‘The Bikeriders’ is competently photographed, director Jeff Nichols seems too busy riffing on Martin Scorsese’s ‘Goodfellas’ than craft a compelling character drama.
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‘Babes’ may not reinvent the wheel, but its constant joyous feel anchored by two impeccably-timed performances from Ilana Glazer and Michelle Buteau makes it quite enjoyable.
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Unless you’re just a full-on superfan of the lazy tabby himself, ‘The Garfield Movie’ is unlikely to work for anyone over the age of four. It’s weirdly slow, terribly mundane, and uninteresting the entire way through.
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George Miller doesn’t quite return with a vengeance in ‘Furiosa: A Mad Max Saga’ - rather, he brings a seasoned sense of detail and management. The Mad Max franchise has become well known for an exasperated brand of freneticism and unbridled energy rarely captured in blockbuster action cinema as it stands today, and ‘Furiosa’ remains consistent within that.
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Zendaya gives the best performance of her career in Luca Guadagnino’s ‘Challengers’, an electrifying sports drama with dazzling bravura tennis sequences that beg the trip to the IMAX theater.
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Moritz Mohr’s meta-actioner ‘Boy Kills World’ desperately wants to be a cross between Deadpool, Silent Night, and The Hunger Games, but its chosen tropes and tools completely sinks the movie.
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While the director has been responsible for some of the slickest action films of note, Guy Ritchie’s ‘The Ministry of Ungentlemanly Warfare’ is tragically and painfully average, and all things considered, doesn’t present much to warrant anything after an obligatory first watch.
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‘The First Omen’ is a traditional prequel in the way that it unfortunately fails to justify its own existence, falling into the busy chasm of efforts long lost, doomed to the same fate.
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While ‘The Old Oak’ isn’t as powerful as Ken Loach’s previous two films, its lead performances from Dave Turner and Ebla Mari intensify its dramatic impact and result in a must-see.
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‘Godzilla x Kong: The New Empire’, despite its hiccups, is a rare experience at the movies. There is something so irresistible about these beasts and the incredulity of their world that demands seeing it on the biggest screen possible.
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Don’t go in expecting to be blown away, and ‘Damsel ‘ should do just fine. Just make sure you’ve got your plot-armor, and possibly a few glow worms for safe measure, too.
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