A mysterious being appears in the desert and assumes the identity of the first person she sees – a magazine cover girl. Taken in by Iranian immigrants, she forms an understanding of her new surroundings, and comes to appreciate the beauty and the sadness of her new world.
Director Juan Antonio Bayona spins the focus in on a single family caught up in the disaster, personalising the horror and bringing it home in unashamedly melodramatic fashion on its very own tidal wave of emotion.
A family's quiet Thailand holiday turns into a nightmare when a huge tsunami engulfs the grounds of their hotel.
The narration is informative, detailing the major segregation policies of Apartheid to cater to a mass audience and not just those with existing knowledge.
examination of the legacy of Apartheid in South Africa from the viewpoint of the Cape Coloured, the majority population.
If a member of cast could save a film, Michelle Williams would be the person to hire, since her central performance in this muddle of a movie is the only thing that stops it being unwatchable.
A London mum tries to cope with the grief of the loss of her family in a terror attack.
Though providing food for thought regarding the nature of conflict and how easy it is to tear a community apart, Villeneuve's heavy-handed approach to metaphor will not be for everyone.
A mother's past sends her twin children on a Middle Eastern odyssey.
There is no doubting Moderndorfer's intentions to present an anti-captialistic polemic but he pushes things so far here that they become unbelievable and, by the end, almost funny by default.
She gives you that little bit too much that you don't want to see and hear. From Ave Maria to Polaroid Cocaine to a Shanghai encore, Ingrid Caven tells us stories as if we were little.
Road movies come with clichés attached. Thanks to dialogue that strips convention to the bone, they have no effect here because they wouldn’t survive the verbal onslaught.
Two brothers who hate each other drive to Skye to search for their dead daddy's money.
Winans is at his best in the visual realm, and the early sections of his film, in which supernatural entities are seen wordlessly working their nightshifts, prove highly effective examples of narrative economy.
A father and daughter finds themselves caught up in a battle for human souls by the keepers of dreams and nightmares.
