Riot Material

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Cinema Disordinaire is a uniquely selective entry of films -- listed in order of date upon release and reviews in immediate response -- that showcase the singular in all of cinema, the seminal, and the utterly sublime come to screen this past half century. In other words, there's not much here you won't thoroughly enjoy.

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The Lure

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CINEMA DISORDINAIRE

Reviewed by A. O. Scott

As folkloric Polish musical sex-comedy horror movies go, The Lure (2015) is pretty interesting. The first feature directed by Agnieszka Smoczynska, the film follows two mermaid sisters onto land, where they look for love, feast on human flesh and find work singing and stripping at a nightclub that might have come from an early David Lynch movie or a vintage-’80s music video [Read more…]

Mad Max: Fury Road

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Reviewed by Anthony Lane

There is a moment, in Mad Max: Fury Road (2015), when Max (Tom Hardy) washes blood off his face. This is unsurprising, since he has just engaged in one of many fights, but two points are worthy of note. First, the blood is not his. Second, he washes it off not with water but with mother’s milk, siphoned from a gas tanker. And there, in one image, you have George Miller’s film—wild and unrelenting, but also possessed of the outlandish poetry, laced with hints of humor, that rises to the surface when the world is all churned up. [Read more…]

Bone Tomahawk

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Reviewed by Jeannette Catsoulis 

In Bone Tomahawk (2015), an old-timer, an invalid and a gunslinger set out across the blistering desert to rescue three innocents from a band of savage cannibals. Their mission seems beyond futile, but don’t count them out too soon: Their leader is Kurt Russell.

Yet Mr. Russell is far from the only reason to see this unexpected low-budget treat, a witty fusion of western, horror and comedy that gallops to its own beat. That rhythm is dictated entirely by the writer and director, S. Craig Zahler, a novelist and musician who flips genre conventions upside-down and cares more about character than body count. As a result, he has given us a horror movie whose monsters are withheld until the tail end of its 132 minutes, and an action movie whose longest section involves mostly walking and talking. [Read more…]

Baskin

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Reviewed by Jamie Righetti

One of the great pleasures of international horror films is uncovering what is considered scary in other countries. Even a quick glance at some of the most memorable titles of recent years highlights how diverse these offerings can be: Sweden’s sublime vampire tale Let The Right One In; South Korea’s psychological chiller A Tale of Two Sisters; France’s visceral Martyrs; and Serbia’s controversial A Serbian Film. But if we dig a little deeper, we find the same threads woven into the entire horror landscape. We fear the unknown, the dark, the grotesque, but most of all we fear pain and death. Our fears are primal and universal; horror regularly serves as the great unifier in a way most genres can’t match.

It should come as no surprise then, that much of what we see in Baskin (2015), the first feature length offering from Turkish director Can Evrenol, feels familiar.  [Read more…]

The Witch

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Reviewed by Anthony Lane

A father and his son, a boy of twelve or so, go into a wood. They are out hunting, armed with a gun. As they walk, they engage in one of those ordinary, man-to-man chats that arise on a country stroll. “Canst thou tell me what thy corrupt nature is?” the father asks. “My corrupt nature is empty of grace, bent unto sin, only unto sin, and that continually,” the lad replies. Clearly, he has learned the words by rote, yet they don’t sound tired or hollow in his mouth; he means them. His next task is to help with the traps that have been laid in the undergrowth. We watch his small hands slowly easing wide the iron jaws. These scenes are from The Witch (2015), a film written and directed by Robert Eggers.

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Embrace of the Serpent

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Reviewed by Stephen Holden

“The horror! The horror!” The terminal valediction of Kurtz in Joseph Conrad’s Heart of Darkness is deconstructed with a raging eloquence in the Colombian director Ciro Guerra’s majestic, spellbinding film, Embrace of the Serpent (2105). Is the unspeakable savagery evoked by his dying words really beyond the reach of the civilized imagination? I doubt it. [Read more…]

The Tribe

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Reviewed by Ben Sachs

The Tribe (2014) is a brilliant formal achievement that marks Ukrainian writer-director Miroslav Slaboshpitsky as a filmmaker to watch. It takes place at a boarding school for deaf children, with all the roles played by deaf performers; the dialogue is entirely in Ukrainian sign language, and there are no subtitles or narration to translate the conversations for hearing viewers. (Even those schooled in American Sign Language will be baffled.) Slaboshpitsky uses ingenious strategies to draw the audience into the characters’ world while respecting fundamental differences between the deaf and the hearing. The film, his feature debut, is never less than tantalizing, bringing us close enough to the subjects to inspire fascination but not close enough to establish thorough understanding. For hearing viewers, Slaboshpitsky approximates the experience of being deaf, and in that regard the film is a valuable provocation. [Read more…]

It Follows

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CINEMA DISORDINAIRE

Reviewed by Stephen Holden

The nameless, shape-shifting horror that stalks the blond, 19-year-old Jay (Maika Monroe) in David Robert Mitchell’s cool, controlled horror film, It Follows (2014), might be described as the very incarnation of paranoia. The menace, which only she can see, takes any number of forms, from a naked man standing on the roof of a house to an unsmiling old lady heading purposefully in her direction. When it appears, it is usually first glimpsed from a distance, walking slowly toward her like an expressionless zombie. Although Jay repeatedly flees, she can never shake the sense that it is out there somewhere and knows her precise location. [Read more…]

A Girl Walks Home Alone at Night

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Reviewed by Manhola Dargis

By the time the vampire in the chador is skateboarding down a dark, desolate street, the director Ana Lily Amirpour has ensured that A Girl Walks Home Alone at Night (2014) will roll on in your memory. The vampire, a Persian-speaking waif called the Girl (Sheila Vand), also wears a striped fishing shirt and an occasional smear across her mouth that isn’t lipstick. She’s taken the skateboard from a nameless tyke (Milad Eghbali), whose indomitable quality and threadbare clothes evoke the children populating Abbas Kiarostami’s early films and, in turn, those of Italian neorealism. Whatever the inspiration, the kid is just one of a number of character types drifting through Ms. Amirpour’s cinematic fun house. [Read more…]

Under The Skin

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Reviewed by Geoffrey O’Brien

Jonathan Glazer’s Under the Skin (2013) is a film with the courage of its silences and ellipses. Most easily categorized as a species of science fiction, it deftly evades verbal explanation and explicit continuity. It is in fact based on a well-received science fiction novel by Michel Faber, concerning an alien being who has been sent to northern Scotland in the guise of a woman to pick up and trap men for consumption by other aliens. But Glazer seems to have ended by omitting most of the narrative content of his source, taking away backstory and motivation bit by bit until what is left is deliberately fragmentary and open-ended. [Read more…]

Post Tenebras Lux

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Reviewed by Manohla Dargis

Mesmerizing, mysterious, willfully perverse, the Mexican movie Post Tenebras Lux (2012) opens with two scenes, one realistic, the other fantastical. In the first a toddler roams across a muddy country field at dusk as thunder booms and dogs chase cows, horses and donkeys.

It’s a cacophonous, stunning sequence. The edges of the images are softly blurred, the light is magical — although it isn’t remotely clear what that girl and those animals have to do with the following scene of a red, radiant devil with horns, hooves, swishing tail and a literal toolbox entering a house at night, like a handyman from Hades on an emergency call. It’s no wonder that a young boy in the house who sees this bizarre apparition stops cold to gawk. [Read more…]

Uncle Boonmee Who Can Recall His Past Lives

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CINEMA DISORDINAIRE

Reviewed by A. O. Scott

Last May, when a Cannes Film Festival jury headed by Tim Burton awarded the Palme d’Or (2011), there was widespread surprise and a few eruptions of outrage. The film — from the Thai director Apichatpong Weerasethakul, who has become a familiar presence on the festival circuit over the past decade — is unquestionably strange, at times mystifyingly oblique. Those who insist on a linear narrative or an easily identifiable set of themes may find themselves puzzled, perhaps to the point of frustration. But it is hard to see how this movie, with its contemplative mood and genial, curious spirit, could make anybody angry. On the contrary: encountered in an appropriately exploratory frame of mind, it can produce something close to bliss. [Read more…]

Take Shelter

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Reviewed by A. O. Scott

“You’ve got a good life, Curtis,” says Dewart, Curtis’s best friend and co-worker. (Dewart is played by Shea Whigham, Curtis by the amazing Michael Shannon.) “I think that’s the best compliment you can give a man: take a look at his life and say, ‘That’s good.’ ”

A sinister corollary to Dewart’s homespun truism might be that the greatest fear a man can experience is that of losing the good life he has. It is this anxiety, which afflicts Curtis in especially virulent form, that defines the mood of Take Shelter (2011), Jeff Nichols’s remarkable new film. It is a quiet, relentless exploration of the latent (and not so latent) terrors that bedevil contemporary American life, a horror movie that will trouble your sleep not with visions of monsters but with a more familiar dread.

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Dogtooth

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CINEMA DISORDINAIRE

Reviewed by Peter Bradshaw

A black-comic poem of dysfunction, a veritable operetta of self-harm, this brilliant and bizarre film from the Greek director Giorgos Lanthimos is superbly acted and icily controlled – it grips from the very first scenes. Development does not get more arrested than this. Dogtooth (2010) could be read as a superlative example of absurdist cinema, or possibly something entirely the reverse – a clinically, unsparingly intimate piece of psychological realism. Watching this, and alternately gaping at the unselfconsciously shocking scenes of violence, thwarted sexuality and unexpressed sibling grief, I was reminded of Alan Bennett’s maxim that all families have a secret: they are not like other families. But I can’t imagine any family being quite as unlike others as this. [Read more…]

Winter’s Bone

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Reviewed by David Denby

In the extraordinary independent film Winter’s Bone (2010), the large Dolly clan lives off the grid. The movie is set in the Missouri Ozarks, in backcountry—way back, where the front yards are filled with dead cars and cracked toilets, and the children ride wooden horses and hunt squirrels. There are no telephones, much less cell phones or computers, and not a TV in sight. [Read more…]

Fish Tank

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CINEMA DISORDINAIRE

Reviewed by A. O. Scott

Mia, the 15-year-old protagonist of Fish Tank (2009), Andrea Arnold’s tough and brilliant second feature, moves with such speed and fury that she seems to be trying to flee not only from her bleak surroundings but also from the movie itself. The narrow, nearly square frame boxes Mia in, and Ms. Arnold’s on-the-run hand-held tracking shots increase the sense of panicky claustrophobia. Living in a cramped apartment in a British housing project that stands like a cluster of megaliths in the middle of nowhere, Mia is at once trapped and adrift, unable to contain or to express the feelings seething beneath the blank, sullen mien she usually presents to the world. [Read more…]

A Prophet

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Reviewed by Manohla Dargis 

Near the end of A Prophet (2009), one of those rare films in which the moral stakes are as insistent and thought through as the aesthetic choices, there’s a scene in which the lead character, Malik, travels to Paris to kill some men. The scene reverberates with almost unbearable tension but is briefly punctured by a seemingly throwaway image: Seconds before he begins shooting, thereby sealing his fate, you see him catch sight of a pair of men’s shoes showcased like jewels in a boutique window in a rich Parisian quarter. He does a double take, a reaction that might mirror that of the anxious viewer who wonders why he doesn’t just get on with it. [Read more…]

Drag Me To Hell

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Reviewed By Dan Kois

In each of the two great movies opening this weekend, a crotchety old person faces the loss of the family home to cold, impersonal capitalism. On which film should you, the viewer, spend your hard-earned money? Well, if you think you’d enjoy seeing the elderly hero spirit away his home in an inspiring ode to adventure and friendship, you should see Up. On the other hand, if you’d rather watch the old person viciously attack a loan officer, tear out chunks of her hair and place a horrifying Gypsy curse on her soul, then see Drag Me to Hell (2009). How angry are you feeling about the economy, anyway? [Read more…]

Gomorrah

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Reviewed by Manohla Dargis

There are no colorful characters in Gomorrah (2008), Matteo Garrone’s corrosive and ferociously unsentimental fictional look at Italian organized crime; no white-haired mamas lovingly stirring the spaghetti sauce; no opera arias swelling on the soundtrack; no homilies about family, honor or tradition; no dark jokes; no catchy pop songs; no film allusions; no winking fun; no thrilling violence. Instead, there is waste, grotesque human waste, some of which ends up illegally buried in the same ground where trees now bear bad fruit, some of which, like the teenager scooped up by a bulldozer on a desolate beach, is cast away like trash. [Read more…]

Let The Right One In

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CINEMA DISORDINAIRE

Reviewed by Manohla Dargis

The title of the spectrally beautiful Swedish vampire movie Let the Right One In (2008) comes from a song by Morrissey, a romantic fatalist who would surely appreciate this darkly perverse love story. “Let the right one in,” he sings in “Let the Right One Slip In.” I’d say you were within your rights to bite/The right one and say, ‘What kept you so long?’ ” These may sound like words to live by, though in the case of a film about a boy and the girl next door who may just be a vampire, they could easily turn out to be words to die for. [Read more…]