Unseen and unfinished for over forty years, The Other Side of the Wind, the final film embattled auteur Orson Welles was attempting to make long before he passed away in 1985, has finally reached completion thanks to the restorational, editorial, and logistical efforts of admirers, modern day contemporaries, and former collaborators, and perhaps unsurprisingly it showcases some of his most ambitious and finest work.
Cinematic history is littered with abandoned, cancelled, unfinished, indefinitely shelved, or lost projects that have obscured major talents with ambitious ideas and potentially game changing perspectives from mainstream acclaim and notoriety, but few such cases of produced, but unseen art are as complex, personal, and mysterious as the one outlined in Sandi Tan’s documentary Shirkers.
Gareth Evans, the Welsh director of The Raid and its subsequent sequel, successfully switches filmmaking gears with Apostle, a slowed down and initially restrained sort of period horror film.
Private Life, the latest film from writer-director Tamara Jenkins, broaches a number of difficult and awkward conversations with grace, overwhelming empathy, and unflinching authenticity.
While some could read The Land of Stead Habits, the latest feature from writer-director Nicole Holofcener as a tale of one man’s mid-life crisis, it’s more a pointed, poignant, and frequently funny indictment of privilege and suburban malaise.
Although it boasts a resoundingly likable and noteworthy leading performance from Shannon Purser, the Netflix teen comedy Sierra Burgess is a Loser rehashes Cyrano de Bergerac for a bunch of barely reheated, boring, and poorly implemented clichés.
A charming throwback to the sort of snappy, high concept teen movies that peppered the 80s and 90s, To All the Boys I’ve Loved Before might not be the best young adult film of the year, but it’s solidly constructed and unique in its own special ways.
With last year’s Oscar nominated short film Heroin(e), documentarian Elaine McMillion Sheldon looked at women working on the front lines of West Virginia’s rampant opioid drug crisis. Her latest feature, Recovery Boys, returns to the same geographical location for an even more personal and fraught narrative surrounding drug addiction.
Luke Cage Season 2 isn’t easily watchable, but it is enjoyable for the most part, and he remains the most consistently written and utilized character in the NYC centred Marvel universe.
True crime and courtroom drama aficionados might already be familiar with the comprehensive, landmark documentary The Staircase, and if they aren’t, they should get acquainted with it immediately.