Babylon (2022)

Damien Chazelle’s directorial output thus far has squarely put him in the realm of populist auteurs – filmmakers who challenge the audience without necessarily challenging the form, and always within the boundaries of widely accepted good taste. His work does not have the grit and prowess of what The Movie Brats did in the 70s or what the Indiewood crowd managed in the 90s.  

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Bullet Train (2022)


There is no debate: Bullet Train is a movie bound to endear a very particular (and sizeable) demographic of movie-goers. What is more, this specific group of film enthusiasts will be there for anything and everything this film has to offer. They’ll laugh uproariously at its abundance of snarky comedy, they’ll react accordingly to the film’s omnipresent slapstick humour, as they will to its overall tongue-in-cheek tone, or its hyper stylized aesthetic and flamboyant fight choreography.  

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