After 32 years of heartache, bitterness and despair, it took just seconds for Guus Hiddink to exude a rare sense of calmness in the Socceroos dressing room. Four years prior to the now famous night on November 16, 2005, a fragile Australian team had been bullied off the park by Uruguay in its quest to finally break its World Cup drought. Intimidated from the moment they touched down in Montevideo in 2001, spat on by locals and then roared off the park by 60,000 manic fans in the Estadio Centenario, they had barely stood a chance. Now older, more mature and — with Hiddink in charge — more professional, things would be different four years on. That change in mentality flows through November 16, a gripping documentary from Richard Bayliss and Ben Coonan that depicts the Socceroos’ journey from West Germany in 1974 to the moment John Aloisi’s crisp spot kick struck the back of Fabian Carini’s net.
The justice system in the United States of America is supposed to operate as you are deemed innocent until proven guilty. But "When They See Us" shows what happens for Black people is they are deemed guilty until proven innocent.
Kate Winslet and Saorise Ronan deliver stellar performances in a film that doesn't live up to its potential.
'Do Revenge' offers a 2022-relevant sociopolitical commentary that decries virtue signaling while promoting the inclusive virtues the nefarious power structures exploit.
An impressive narrative structure, a perfect use of the continuous shot technique, and great interpretations make "Boiling Point" one of the best films of 2021.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
