I'll take movies that had theatrical releases, or just straight-to-streaming type flicks that were better than they had any right to be.
I'm talking S. Craig Zahler movies, I'm talking A Walk Among the Tombstones, The Informer, Blood Father, Run All Night, The Equalizer, Shot Caller, Wind River, Cold Pursuit, The Town, Sicario, Out of the Furnace, Wheelman, etc.
Thank you!!
I’m looking for something fairly generic that the four of us can watch, but haven’t all seen a thousand times. My mother-in-law isn’t too keen on excessive violence or sci-if and we all prefer something with a hint of intelligence (so not Too Fast Too Furious). I get turned off by spy-type thrillers with lots of action/brooding stares/historical context but little plot, wit or light relief. We recently watched and enjoyed:
Now You See Me
Yesterday
Ocean’s Eleven
Enola Holmes
The Prestige
The Bourne Trilogy
Scully
Thank you!
As everyone else, I am also a big fan of Asian movies but due to time constraint I get little time to watch them. My favourite Asian movies are Hero(Jet Li), A House of Flying Daggers, The Raid, Parasite (obviously).
I would request if anyone please recommend any brilliant Asian movie similar to the ones I have mentioned above or any thriller, Suspense or Action genre 2015 onwards?
Thanks
Spoilers ahead.
Connoisseurs of film are undoubtedly well-aware of La Nouvelle Vague, aka, the ‘New Wave’—an experimental movement in filmmaking with its origins in the French cinema of the 1950s, with an emphasis on exploration of personal themes such as existentialism, iconoclasm and absurdism. Although the ‘New Wave’ is considered to have met its chronological end in the late 1960s, to be followed by successive movements like ‘New Hollywood’, ‘Cinema Novo’ and ‘Dogme 95’, the influence of la nouvelle vague continues to be keenly felt in the artistic masterpieces of Bollywood production house YRF. Under the skillful hand of renowned auteur Aditya Chopra, the studio has produced a lineup of commercially successful arthouse flicks that continue the French filmmaking renaissance of the ‘50s, successfully infusing avant-garde storytelling techniques with high production values and modern Indian themes. Nowhere is this revolutionary vision more evident than in films like DDLJ (a masterpiece in abstract, absurdist storytelling), Mohabbatein (a sensitive examination of the taboo topic of attitudes towards adolescent self-gratification), Kal Ho Naa Ho (an ambitious adaptation of historian David McCullough’s book 1776), Jab Tak Hai Jaan (a religio-philosophical drama that engages in debate upon the tenets of Christianity, Shaivism, and the cultural taboo of Kala Pani) and, of course, the Dhoom franchise.
As YRF’s most popular franchise, the Dhoom series has, with each installment, made great independent strides in cinematic theory and practice. Although—as read above—YRF films explore a wide, varying range of topics as a whole, the Dhoom franchise focuses exclusively on the examination and discussion of economic and socio-economic matters of policy and practice in the Indian context. Over the course of 3 films, the discourse acquires a rich depth, with the analysis of issues including the economic costs and benefits of national highway construction, the clash between entrepreneurial aspirations and the security of bureaucratic employment, the 2008 economic recession in the BRICS context, and the causes and consequences of non-performing bank loans and a profiling of defaulters of on said loans. Indeed, a first course on Indian economics at any prestigious institution may well be framed around careful viewing and discussion of the Dhoom films. In the careful hands of Aditya Chopra and Vijay Krishna Acharya (Dhoom 1/2/3, Tashan, *Th
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