Review: Colossal (2016)

Big things come in Anne Hathaway-size.

by Alejandro Turdó

If you happened to casually catch any of the trailers for Colossal (2016), you probably thought it was much closer to an absurd comedy mashup than a deep drama with some monsters on the side. Think again, because the wonderful minds behind its marketing campaign definitively got it all backwards. Nacho Vigalondo’s new feature draws as far away as possible from your typical monster movie, delivering a story that focuses on failing relationships, substance abuse and social satire.

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Review: The Other Side of Hope (2017)

A poignant, thoughtful tragicomedy.

by Joanna van der Veen

The latest film from Finnish auteur Aki Kaurismäki is about two men from diametrically opposed walks of life. A tale of serendipitous meetings, unusual relationships and discrimination, it is a modern, off-beat look at the refugee crisis currently playing out across Europe.

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Review: Wonder Woman (2017)

Does whatever a woman can.

by Benjamín Harguindey

“The Wonder Woman movie” has been doing its rounds in development hell since 1996, so it’s already a kind of victory that it’s finally here: the first superhero movie made by a woman, about arguably the most iconic superheroine in the history of comics. That it comes at a time when the market is oversaturated with comic book flicks may be  a necessary evil.

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Review: Pirates of the Caribbean 5 (2017)

Yo ho ho and a bottle of more of the same.

by Benjamín Harguindey

The Pirates of the Caribbean franchise continues its drunken waddle through the same stale shallows it’s been routinely charting since its inception with 2003’s Curse of the Black Pearl.

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Review: Alien: Covenant

In space no one can hear you stealth remake.

by Benjamín Harguindey

Alien: Covenant (2017) is as much of a direct sequel to Prometheus (2012) as it is a remake of sorts. As if director Ridley Scott wanted to continue the story but also right some of the wrongs of his maligned earlier movie.

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Review: King Arthur: Legend of the Sword (2017)

Now this Arthur bloke, he was a proper rocknrolla…

by Benjamín Harguindey

You could break down Guy Ritchie’s career as both writer and director in two perfect halves. You have the comedy gangsta flicks that put him on the scene, and then you have his Warner Bros. tenure beginning with RDJ vehicle Sherlock Holmes (2009), its prissy 2011 sequel and the lackluster 2015 adaptation of The Man From U.N.C.L.E. Now comes King Arthur: Legend of the Sword, ostensibly another studio gig, really an attempt by Ritchie to have his cake and eat it too.

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Review: Porto (2016)

RIP Anton Yelchin.

by Benjamín Harguindey

Muted “end-of-relationship” movies are a dime a dozen in film festivals, which is where I found Porto (2016) – playing at the 19th BAFICI, the Buenos Aires Festival Internacional de Cine Independiente.

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