Falling well short of its intention to become a De Palma indebted flick for the digital age, the disappointing and tough-to-stomach thriller Cam almost succeeds in becoming captivating viewing thanks to an exceptional leading performance and an intriguing premise.
The light beer equivalent of Braveheart, David Mackenzie’s competent, but relatively pointless epic Outlaw King has plenty of bloodshed, lots of actors shouting impassionedly, expertly lensed melees, picturesque locations, and not much else of note.
In addition to the film itself and the feature length look back at the production’s rocky history, Netflix and the people driving the restoration and completion effort behind The Other Side of the Wind have produced an insightful forty minute documentary about the difficult nature of reconstructing the bits and pieces of Welles footage on a technical level. Documentarian and frequent behind-the-scenes-look producer Ryan Suffern speaks with the people directly involved with making Welles’ vision a posthumous reality with A Final Cut for Orson.
The story behind the laborious making of Orson Welles’ final masterpiece The Other Side of the Wind is just as fascinating, beguiling, and contradictory as the film itself, and Oscar winning documentarian Morgan Neville’s well crafted and entertaining oral history of events, They’ll Love Me When I’m Dead, is as great and thorough of a primer on the subject as one’s likely to get.
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.