The amazing filmmaking on display far outweights the clichés of the storytelling. Sam Mendes’ war film takes everything we love about the “single take” and makes it into an entire film that artfully creates a sense of dread like nothing before it. FULL REVIEW HERE.
Crawl (Alexandre Aja)
Some films are built perfectly and are from the opening moment to the closing credits purely an animal of cinema. Alexandre Aja’s Crawl is that kind of film. Regardless if you love horror or not this is such a brilliantly executed piece of pop cinema it’s hard to refuse what it’s dishing.
Dragged Across Concrete (S. Craig Zahler)
This one is thorny as fuck any way you cut it. That doesn’t take away from the fact it’s a brilliant dissection of the crime genre. Running close to 3-hours S. Craig Zahler’s third film is as dangerous as dangerous cinema gets. Using the images of both Mel Gibson and Vince Vaugh to great effect, the film is a slow burn descent into an existential hellscape of criminals and corrupt cops. Though it’s Tory Kittles as a Criminal recently released from prison trying to survive a job gone very wrong that owns the screen.
The Rest (in alphabetical order)
1917 (Sam Mendes)
The amazing filmmaking on display far outweights the clichés of the storytelling. Sam Mendes’ war film takes everything we love about the “single take” and makes it into an entire film that artfully creates a sense of dread like nothing before it. FULL REVIEW HERE.
Crawl (Alexandre Aja)
Some films are built perfectly and are from the opening moment to the closing credits purely an animal of cinema. Alexandre Aja’s Crawl is that kind of film. Regardless if you love horror or not this is such a brilliantly executed piece of pop cinema it’s hard to refuse what it’s dishing.
Dragged Across Concrete (S. Craig Zahler)
This one is thorny as fuck any way you cut it. That doesn’t take away from the fact it’s a brilliant dissection of the crime genre. Running close to 3-hours S. Craig Zahler’s third film is as dangerous as dangerous cinema gets. Using the images of both Mel Gibson and Vince Vaugh to great effect, the film is a slow burn descent into an existential hellscape of criminals and corrupt cops. Though it’s Tory Kittles as a Criminal recently released from prison trying to survive a job gone very wrong that owns the screen.
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