Snowden

As an old Sixties lefty brought up on paranoia-infused thrillers like The Parallax View or All the President's Men, Oliver Stone loves ripping open great American conspiracies. However, in contrast to his earlier labyrinthine epics Nixon and JFK, this account of CIA whistleblower Edward Snowden keeps clutter to a minimum as Stone fashions a tense, fast-moving drama which will leave you pondering over what's really justifiable for the greater good.

It...

The Unknown Girl

The Dardennes brothers' latest tale from the grim streets of the industrial suburb of Liège in Belgium is another quietly powerful masterpiece; it’s perhaps their best film since The Child. Re-edited since it debuted at Cannes to mixed reviews, it fuses elements from social realist cinema, morality play and a whodunit murder mystery. The result is a wholly gripping narrative told with understated eloquence.

The film opens with no introductions: a young woman, stethoscope in...

Paterson

Back in the 1980s Jim Jarmusch was a breath of fresh air. He made quiet, quirky films about young urban Americans that dispensed with the prevailing neon-bright high school romances, jocks and suburbia. He was about as far removed from the John Hughes/John Landis/Porky hit machines as you could get. Jarmusch was saturated in obscure B-movies, modern poetry and played in a band. His breakout feature, Stranger than Paradise, starred the then unknown John Lurie, who over the...

The Incident

A pale young girl – we see her blurred reflection in a window – is hanging out at a pizza joint. She follows a customer, Joe, a handsome young architect, out to his car, where he’s waiting for his order, and flirts with him, smoking and dancing beside the open window, asking him if he’s married. She's a teenage wastrel in her tiny shorts, ballet slippers and shiny jacket. Next thing – there’s no explicit sex on view – he’s paying for her services and heading home.

The New Man

First-person documentary must steer the uneasy path between embarrassing confessional, narcissistic self-obsession and work that will resonate beyond the merely parochial context of home movies. The dangers surrounding the genre are of course one of the sources of its potential strength. The intimacy that near-absolute subjectivity affords is a plus. And so is the thrill of perhaps getting a glimpse behind the personae of everyday life.

Gimme Danger

Jim Jarmusch has made a memorial to the Stooges, more than a celebration of their brutal prime. His Zen rhythms, which roll so movingly through the upcoming Paterson, aren’t entirely equipped for the blunt trauma of Ron Asheton’s guitar, or Iggy Pop’s penchant for sultry chaos.