Sumner Forbes

Instead of a taut coming-of-age drama, we seem to have gotten a surfing movie that happens to have a skeleton of a story.

It’s a mature story, and with maturity comes a subtlety that goes beyond exposition. But filmmakers must balance tones effectively, and Khan is unable to shake his film’s monotone nature.

It works as a powerful mediation on the optimism lost for a peacefully cosmopolitan Lebanon.

Maybe Banderas wanted to capitalize on the popularity of the Taken or John Wick franchises, which is entirely understandable. For a man used to covering a wide range of genres, the role of the older action star is one with a certain degree of cultural cache. The Enforcer, though, just isn’t the right vehicle.

The value of Petit Mal is in the performances and formal flourishes that disrupt the actors’ rhythm work against one’s overall enjoyment. Even so, there’s always a place for filmmakers willing to tell distinctive love stories, and one involving a lesbian throuple in Colombia certainly fits the bill.

This is essential viewing for anyone with a modicum of interest in WWII history. For the odd individuals that don’t have any interest, this is still well worth a watch because of the powerful character study at play.

Throughout Hadas Ben Aroya’s All Eyes Off Me, we’re privy to a level of intimacy not often seen.

Davis’ delusions of grandeur are definitely not bulletproof like some of his vests, but that doesn’t necessarily make this an essential watch.

It’s the rare work that confronts the uncomfortable truths of the world – namely that life is far from fair, and no individual can achieve success without the support of others who may not be dealt a great hand in life.

Guzzoni, at times, drowns the film in its messaging by not mixing it up, but we’re never bored. We can thank López’ performance for that and our creeping sense of alarm at the abuses that the less fortunate are forced to suffer through.

The drama is a mostly compelling watch, but we’re left wanting more from a film with such an impressive assemblage of individual pieces.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

The double-edged sword with Smile and its popularity means there may be a sell-by date after which many of the harrowing sequences become subsumed into popular culture and will no longer feel fresh upon initial viewing. This isn’t the film’s fault, but such is often the case when the public gets a hold of a work of art. See it with a crowd, and see it soon.

While Dead for a Dollar may not make one toss out their copy of The Searchers, it’s still a refreshing change of pace seeing three excellent actors in an uncommon genre. When it comes to its originality, though, we’re left watching the tumbleweeds float on by.

This is a poignant examination of the many forms of love. Even if one isn’t totally on board with the lifestyle at the center, it makes it hard not to wonder what that seemingly mild-mannered couple you know might be up to when the shades are drawn.

Couple the brilliant construction with the intense performances from Saboia and Fasanaro, and we have one of the more memorable foreign romance films in recent memory.

Adieu Godard is generally a blast. Cinephiles will love it because it should, without fail, bring to mind our own journeys into “challenging” cinema. Casual viewers not well-versed in the New Wave catalogue will still find plenty of enjoyment in the chaos that erupts as a result of the backlash against the film.

A promising debut from a new international voice.