Some films arrive quietly, like a half-forgotten song heard through a cracked window. The Ballad of Wallis Island does not announce itself. It drifts in, wind-bitten and sea-worn, and before you realize it, it has taken up residence somewhere behind your ribs.
James Griffiths expands his 2007 short into something more elegiac than narrative. It is not about momentum but about mood. It asks what happens when you chase a feeling instead of a plot. Tim Key plays Charles, a…
The Intruder is not a film that explains itself. It arrives like a half-ed dream, already in motion, already unraveling. Claire Denis doesn’t guide so much as gesture, and we follow—reluctantly at first, then willingly—into a world where borders blur and identities bleed.
Michel Subor plays Louis, a man with a failing heart and a past thick with ghosts. His face carries the gravity of choices made too long ago, choices that now seep through the edges of the present.…
Hit Man glides between tones like its protagonist changes personas. Directed by Richard Linklater with a deceptively light hand, it tells the story of Gary, a philosophy professor who moonlights as a fake hitman for the police. Glen Powell plays him with elastic charm, shifting from soft-spoken academic to lethal swagger with a grin and a well-fitted jacket. He’s not just acting. He’s discovering how much easier it is to live as someone else.
The setup feels like classic screwball:…
In 1932 Mississippi, where the land breathes sorrow and song in equal measure, Sinners unfolds like a spiritual, part blues opera, part Southern gothic fever dream. Directed with visceral tenderness by Ryan Coogler, it’s a film less interested in plot than in presence.
At its center: Michael B. Jordan, magnetic in a dual role as twin brothers Smoke and Stack. One burns, the other broods. Together, they build a juke t that becomes more than a venue; it’s a sanctuary,…
