Well, you’ve blazed through our 30 Memorable Scenes of the year so far. You’ve awed at the 30 Great Performances. Now, it’s time to check out some of the Movies of 2019 that impressed, immersed, intrigued us over the last six months.
We’re not saying these are the definitive films from the year’s first half, but this sure is one hell of a collection. Underrated, uncompromising, unmissable for the most part. Enjoy the super-monstrous list of 40 films from the first half of 2019, and thanks to all those film geeks that contributed to this:
Rocketman
With Bohemian Rhapsody, I was hoping for a character study on one of the most famous and loved bands of all time. I was disappointed. However, this year Rocketman fulfilled that wish. It dives deep into Elton John’s darkest moments – drugs, alcohol, depression, abandonment. And still are able to create a musical with amazingly fun scenes. This movie also is a rare big studio project to feature a gay sex scene – which is refreshing and hopefully a sign of better representation in the future. — Robert @kempo33k
I have come to the conclusion that Rocketman as a whole has cemented itself as not only the best biopic that has come out, but one of my favorite musicals of all time. The reason for this? Character. I don’t mean the man Elton John himself; I mean the film as a whole has a character and a style that no other biopic before it has depicted. The musical numbers shot with such charisma and confidence, it actually shows us the life of a 70s rock and roller. — Jacob @jprov1024
On the President’s Orders
The documentary starts in chilling fashion with the president delivering a speech where he essentially compares his crusade against the country’s drug dealers as Hitler’s genocide of the Jews. On the President’s Orders looks like a thriller from the likes of Michael Mann or Christopher Nolan, and it is just as gripping as Heat (1995) or Inception (2010). This is a slick and stylish documentary, with extraordinarily high production values. — Bianca @the_filmbee
Asako I & II
There’s a quiet devastation to Asako I & II. It’s a work of contradictions – fantastical but deeply, painfully humanist, emotionally warm but visually vacant with whites and grays that chew at the side of the screen. Masahiro Higashide’s dual performance brings sensitivity and kind eyes in one character and enigmatic detachment with the other – a dichotomy that perfectly sums up the tone of the film. It’s a film that asks us to stand from an arms length, stringing us along until we’re as caught up in this self-reflective, exploratory mind-trip. Director Ryusuke Hamaguchi has dumped our relationship insecurities, past desires and half remembered dreams onto the screen and is asking us to try and sort it all out. — Allyson @AllysonAJ
The Man Who Killed Don Quixote
After almost 30 years in the making, Terry Gilliam has somehow managed to pull off one of the best films of the year, against all of the odds. It’s meta on about a hundred different levels – the original text is already metatextual, then Gilliam makes a ‘film within a film,’ commenting on the nightmare gestation process that he’s been through to finally bring his dream project to fruition. One positive of all of the delays is that Johnny Depp has been replaced by Adam Driver as the protagonist, finally getting a starring role which shows off every one of his dramatic and comedic skills. The Man Who Killed Don Quixote is incredibly funny, entertaining and eminently re-watchable. — Fiona @FionaUnderhill
The Perfection
The Perfection is a close to perfection film. After a heavy night, a bus ride starts to get a little bit messy when Elizabeth, while with Charlotte, starts feeling very sick. This sets the whole film up to be a rollercoaser, and takes it down a whole different lane to what you were expecting. Up until this point, it was a thriller, with a sexy relationship storyline, but suddenly, it’s some gross bodily horror, that looks to also be dabbling in some serial killer notions. Elizabeth starts throwing up maggots, and feeling them in her arm too. The grossness hits you like a slap in the face, out of nowhere, and escalating as the scene carries on. This film is a hell of a ride. — Meg @spine_tingle
Fighting with My Family
The “moviefication” of sport in films is nothing new. Sport produces major moments of glory on its own terms, but putting them on film needs something extra. Stephen Merchant added that something extra in Fighting with my Family. The film to the real-life fighter seem like two different moments entirely. Paige’s real-life debut is a messy, clumsy sequence of events that results in her becoming the youngest WWE Champion in history. All the eyes are on Florence Pugh’s Paige. We have no idea what’s going through her mind, this is it, she’s worked her entire life for this moment. The finisher hits, there’s a deafening crowd roar, and the tension becomes elation. It’s the moment the film has been building towards, and my God, it’s worth the wait. — Rhys @RuhBuhJuh
Birds of Passage
One of the most fulfilling recent cinematic contributions to the film canon is Cristina Gallegos and Ciro Guerra’s Columbian epic crime drama, Birds of Passage. With superb cinematography from David Gallego, excellent screenwriting from Maria Camila Arias and Jacques Toulemonde Vidal, and powerful performances from a cast without global recognition. It is extraordinary to see art this strong so underrated in world cinema. The film chronicles both the declining mortality and failing morality of a Wayuu family in Columbia in the mid to late 20th century. The meticulously collaborative efforts of Birds‘ production is unmistakable, and elevates this film to new classic status. — Jasmine May
Paddleton
After the multiple hits Netflix put out at the later half of last year, it seemed logical that they would slow down. But just 2 months into 2019 they dropped what easily could be my favorite film of the year. Paddleton follows two men, best friends, who live next to each other. They watch old samurai movies and play a game they invented called paddleton. When one of them gets diagnosed with terminal cancer, he decides he wants to get the pills to ultimately kill himself before his quality of life gets too bad. This is an emotional gut punch of a film, with career highs for both Mark Duplass and Ray Romano – who have a tremendous amount of chemistry. It has heartbreaking and well-crafted scenes, also works extremely well as a comedy. — Carson @BP_MovieReviews
Glass
In a time where we get a new superhero movie almost every month, we have come to expect big, loud, effects-driven films with tons of action. Glass is not that kind of superhero movie. M. Night Shyamalan crafted a somber, compelling, thrilling, thought-provoking superhero film, about the depths of its characters and what makes them super. Regular people, with pain and trauma to become something more, and exist in the real world. Our heroes don’t wear capes, they wear ponchos and track pants. With a gorgeous look and color palette, haunting score, and a trio of spectacular performances from Bruce Willis, James McAvoy, and Samuel L. Jackson, Glass is a powerhouse finale to one of cinema’s most unique trilogies. — Kevin @kevflix
Tiny Souls
Palestinian-Jordanian filmmaker Dina Naser gives us a fascinating insight into the life inside Al Zaatari Refugee Camp in Jordan, and allows us to see that world through a child’s eyes. By the end of Tiny Souls, you will be struggling to contain your emotions as this real-life tragedy unfolds on screen. This is truly a beautiful film which I hope will get seen by as many people as possible, as these children deserve to have their stories told and captured on the big screen. This is a very compelling, tender, poetic and soulful piece that goes beyond the headlines to tell a very human and a very real story. — Bianca @the_filmbee
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High Flying Bird
High Flying Bird centers around Ray Burke (André Holland), a sports agent who’s navigating the NBA lockout, while trying to help his client, Erick Scott (Melvin Gregg). Burke uses the lockout to explore a proposition that could have lasting effects on the league and himself. Holland is a natural as Burke, smooth-talking and always making things happen. But he meets his match in Sam (Zazie Beetz), whose confidence bleeds through the screen. Steven Soderbergh has always been able to tell stories about hustlers with a heart of gold, and here the results are sublime. — Rodrigo @alwayscriticpod
Unicorn Store
With a somewhat delayed, near perilous, release date for Brie Larson’s first feature film as a director, Unicorn Store arrived at a time when both she and Netflix were cyberspace punching bags. Most of that is neither here nor there. Penned by Samantha McIntyre, Unicorn Store appears to be right up Larson’s street. Quirky, emotive, both grounded and in the clouds. The Oscar-winning actress dangles just enough of a carrot to keep us keen to see what her filmmaking talents can muster up next – should she choose that path. — Robin @Filmotomy
Apollo 11
When it comes to breathtaking wonder and scope, no other film has done it better this year than with the documentary Apollo 11. The story of the first moon landing has been told in one way or another for decades, and it’s a testament to this film, that it makes the iconic moment in history so compelling and exciting. Apollo 11 works as a symphony of sound, music, and movement, edited together so fluently. The results are epic and grandiose, celebrating perhaps the greatest endeavour mankind ever set out for itself. The amount of footage was taken from 70mm to 16mm film, still photography, and CCTV footage, making for an inspiring collage of a truly wondrous event. Filmed for IMAX screens, it is by far the biggest movie of the year as far as scope goes. Apollo 11 stays with you long after the astronauts come down from space and return to Earth. — Jeremy @jeremytwocities
Deadwood
When HBO premiered a little western-drama called Deadwood, critics and audiences loved it, but was cancelled after three seasons. In 2019, it came back as a made-for-TV movie. Deadwood: The Movie manages to somehow tie up so many loose ends from the past, while still working as a compelling movie in general. The cast, which has most actors from the show reprise their roles, is absolutely brilliant. The cinematography is great. The music is good. It’s simply a beautiful send-off for this show and these characters. It’s the Deadwood finale that the fans deserved. — Markus @TheMarckoguy
All That We Destroy
Hulu and Blumhouse partnered on a horror film anthology called Into the Dark, with this May’s Mother’s Day themed feature was All That We Destroy, directed by Chelsea Stardust. Samantha Mathis stars as the scientist mother of a budding serial killer, played by Israel Broussard. A geneticist with an in-home laboratory, she clones her son’s first victim, repeatedly, so that he can kill her, repeatedly. The theory that reliving his inaugural murder over and over will relieve him of his violent urges. Appropriately sterile at times, the smart, minimalistic production design feels both realistic and slightly otherworldly. A unique spin on the nature vs. nurture question, All That We Destroy solidifies Chelsea Stardust as a rising horror auteur on the prowl. — Brandon @BrandonStanwyck
Hail Satan?
Knowing really nothing about the subject prior to walking into this film, I was really surprised by this deep dive into modern Satanism. Specifically following The Satanic Temple, this breaks down the Christian lenses so many look at Satanism through and shows us how they are simply trying to make the world a better place – specifically through religious freedom. Its an interesting and engaging look at the work they are doing that shines a light on an actual major social issue that isn’t talked about nearly enough that will make you view nearly everything differently. — Carson @BP_MovieReviews
Captain Marvel
Despite being larger budgeted than indies like Half Nelson and Sugar, co-writers/directors Anna Boden & Ryan Fleck’s voice is present throughout Captain Marvel. From their character-focused approach (Carol even appears as an outsider), to their signature use of closeups, tight editing, and even a bit of handheld. They even let Brie Larson bring her more naturalistic acting approach, similar to her work in Room and Short Term 12. With influences from other iconic works, including RoboCop, Star Wars and even Richard Donner’s Superman, the film feels genuinely inspired all around. It all adds up to not only one of the absolute best MCU installments, but the most exciting, heartfelt, soulful and unique. — Simon @MOVIEFAN99_
Echo in the Canyon
This documentary takes a look at some musical groups, from the late 60’s, that had their beginnings in Laurel Canyon (a canyon in Hollywood Hills). Mainly focusing on the groups of The Byrds, The Mama’s and The Papa’s, The Beach Boys and Buffalo Springfield. Many of the band members are interviewed, as well as artists and musicians, who were involved or influenced by this music, including Ringo Starr, Eric Clapton, Tom Petty, Brian Wilson and many more. Some give us some insight to band dilemmas, or never before known events that occurred. I had goosebumps watching this documentary and I’d highly recommend seeing this film if you’re a fan of any (or all) of these bands. — Rosa @rosasreviews
Woman at War
Co-writer/director Benedikt Erlingsson’s Woman at War, is a refreshingly unique, funny eco-dramedy set principally in Iceland. Halldóra Geirharðsdóttir gives a rousing performance as Halla, a fiftysomething choir director with a twin sister. Halla’s actions are followed by the music of her mind, quite literally, to the very end as she stays committed to disrupting the flow of electricity via power lines in a bid to save Mother Earth. Woman at War works on several levels. The script presents to us a woman who is fiercely determined to exercise her self-autonomy via her principal of preserving a diminishing land in a global society, that ironically feels increasingly estranged from the ideal of self-preservation by largely neglecting conservation efforts. Halla’s desire for motherhood through adoption in middle age as a single woman, reflects a conscientiousness to grow her family tree in as unconventional a manner as her method of environmental activism is. — Jasmine May
Capernaum
Capernaum, directed by Nadine Labaki (Caramel, 2007), is an outstanding piece of work set in the slums of Beirut, and focusing on 12-year-old Zain who has been jailed for committing a violent crime. The film opens with him appearing at court as he wants to sue his parents for “being born” and his subsequent neglect. Through flashbacks the film tells the story of Zain in the lead up to his arrest and five year prison sentence. Labaki shows the disorder and misery of the refugees and children, and their life on the streets, through their superb acting, which is so natural and mainly performed by non-professionals. Capernaum was my Film of the Month back in March, and will undoubtedly be in my top films of the year. Powerful, raw and heartbreaking – a true masterpiece. — Ian @IanBradleyUK
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Sunset
Although a different beast to Son of Saul, László Nemes’ 2015 feature debut, Sunset demonstrates so much of what gives the director such a deft eye for cinema. Nemes is an integral part of what is making Hungarian cinema worthy of talking about – though very few actually are. Shadowed with gloom and mystery, Sunset is a carefully paced motion picture, weaving through a troubled society almost literally on the back of one woman. Írisz Leiter (Juli Jakab) returns to a Budapest bubbling over with political horn-locking, a woman determined to discover an unknown past. Jakab is terrific, the cinematography from Mátyás Erdély is so finely choreographed, alongside László Melis’ understated music score – Nemes’ Sunset is an enduring, eye-opening experience. — Robin @Filmotomy
Toy Story 4
After seeing Toy Story 4 I watched the trailer again. At first, there’s an uncertain start and a sense of ‘more rehashed ideas as studios make more money off beloved franchises’. But when “God Only Knows” started to play, it clicked that this isn’t about a kid losing their toy but about the existential threat of love. How scary it can be to lose love, to find love, to move on from love. Invariably we lose them, maybe only for a little while, and have to face who we are without them. And that’s the journey Woody goes on in what I presume is our final goodbye, as he discovers who he is without the person he thought he was meant to be with. — Harry @HTPRobertson
One Child Nation
One Child Nation is a very powerful documentary on the issue of a woman’s right to make decisions concerning her body. I cannot think of a more relevant topic right now. The documentary also discusses how silence and simple compliance can have devastating consequences not just for the present or the near future, but also for the long-term future of an entire nation. There is still much I wish to discuss about One Child Nation, but it would be unfair to reveal any more information about this fantastic documentary. This is a fearless, powerful piece that needs to be seen. — Bianca @the_filmbee
Shadow
For all that his films deal in action, director Zhang Yimou has rarely spilled blood onto his otherwise vivid color pallet. The balletic choreography has, up until now – in his greater efforts – been the show stopping element of any wuxia inspired film of his. With Shadow, his grittier approach, with the crunching of bones and slashing of necks, that leaves little to the imagination. And that human nihilism on display, along with the unusually monochromatic tone of the film, makes it one of the most viscerally haunting of the year. Deng Chao delivers one of the best performances of the year. Best exemplified in a moment of pure feral anger, letting down his customary guards to unleash his fury, marrying the atmospheric menace the film had promised thus far with brutal action and unleashing and explosion of visual and thematic rage. — Allyson @AllysonAJ
Booksmart
Making a coming-of-age comedy that really stand outs from the crowd, cannot be an easy challenge for any director. Yet with Booksmart, Olivia Wilde has done exactly that, with her directorial debut no less. As two academical brainboxes realise that they have missed out on all the partying and the usual teenage shenanigans, they decide to cram as much partying and raucous behaviour into one night as they possibly can, to make up for the lost time. The script is filled with witty and side-splitting jokes, and the performances from every member of this terrific cast are fantastic. However, it’s the performances of the leading ladies, Kaitlyn Dever and Beanie Feldstein, that shine the brightest, forming a very warm and sincere friendship. — Martin @ThrSilverScreen
The Mustang
As a form of population control, many wild horses are gathered and taken to these rehabilitation facilities where they get trained to hopefully be sold in an auction. Based on true events, this film tells the story of an antisocial inmate, who is assigned to start a rehabilitation program. This convict is constantly in and out of isolation due to this behavior. He is drawn to this specific wild horse, the wildest of the herd. Beautifuly shot with wide scenes of gorgeous landscapes, this film succeeds in accurately portraying the two different scenarios (nature and prison). Not only was I amazed by the lead character’s development with the horse training, but his antisocial behavior changes by starting to socialize with other inmates. The most underrated film of this year. — Rosa @rosasreviews
John Wick: Chapter 3 – Parabellum
The action, the visual aesthetic, the body count – it just doesn’t stop. You’re left trying to process one impeccably choreographed fight scene, but director Chad Stahelski throws another one right at you. And then another, and another. For 130 minutes, this beast does not relent, the audience has little time to catch its collective breath. From the library sequence where former hitman John Wick (Keanu Reeves) takes out assassins in a public library, and traversing the Moroccan desert with ex-killer Sofia slewing down droves of enemies, to Dan Lautsen’s sublime cinematography. This world of thugs, killers, and crime families dares other action movies to be just as bold, hardcore and stylish as this series is. — Jonathan @MisterBrown_23
The Dead Don’t Die
Jim Jarmusch’s The Dead Don’t Die is the most underrated movie of the year (so far). Which is a shame considering it’s a pitch-perfect satire of the zombie-horror sub-genre. With its tongue firmly in cheek, writer/director Jarmusch plays with typical genre conventions, along with some meta touches, to comment on the preconceived nature of horror. Even some of the deadpan, halfhearted reveals in the exposition seem obligatory and ironically sheepish to emphasize that a film’s formula will always revive itself – just like a zombie. Jarmusch takes the lampooning further by turning the attention on movie goers, and showing us just how easy it is to bait us with an all-star cast and classic Hollywood creatures. — Addison @AddisonWylie
The Sun is Also A Star
The Sun is Also A Star is a movie that I very easily fell in love with. Though it can be sappy and overly sentimental at times, it almost plays like a Mike Mills film for teens. Much like his films, the narrative is strung together with voice-over accompanied by stock photos, film footage, and music. Making for a visually interesting and unique film experience. Director Ry Russo-Young isn’t just playing the hits as a cover band in this film. She brings her own very welcome visual style to the table. The cinematography is inspiring and the color correction is pitch perfect. Years from now, if this film leads young filmgoers of today to cinematic treasures such as Beginners or 20th Century Women, I don’t see that as a bad thing at all. — Jardiel @PulpCereal
Arctic
To compare such a film, of a man marooned in the middle of nowhere in treacherous conditions, to something like Cast Away, is not doing Arctic much justice at all. So I won’t. Instead I will say that this empowering, enthralling survival tale, from director Joe Penna, is how a one-man stuck in the Arctic snowstorm movie should go down. The protagonist, Overgård, is meticulously portrayed by the great Mads Mikkelsen. An actor with such dedication and screen presence – not just in this movie – it is incredible to me the Danish actor likely won’t be a Best Actor contender at the upcoming Oscars. More astonishingly, he has never been nominated. The sheer humanity and test of spirit that Mikkelsen displays is what makes us truly invest in every bite of frost. — Robin @Filmotomy
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Fast Color
What greater power and sense of triumph is there than that of a woman who’s reclaimed her power in the face of a world wishing to either harness it for themselves or extinguish it before it burns too hot? A story of three generations of women, all of whom possess a certain gift that can take apart and rebuild. Julia Hart has taken what might’ve been a hackneyed attempt to capitalize on the superhero craze and instead woven a story of light and hope set in a world that’s quite been turned to dust. Gugu Mbatha-Raw is astonishing, and her work along with Hart’s storytelling is so subtlety paced, so delicately balanced. A stunning work of the capacity we hold to bring light into a drowning world and the animosity that will always be faced against a woman daring to take the reigns of her agency – her own body – Fast Color is a superb bridge of the supernatural and personal. — Allyson @AllysonAJ
Portrait of a Lady on Fire
A work of art is not simply the training of an artist made visible, but the actual artist and subject taken from the abstract to the concrete and then back into the abstract. Portrait of a Lady on Fire is punctuated with scenes showing the act of painting. That clearly demonstrate this as swaths of color on a blank canvas mirroring the color the characters imbue on the muted but beautiful landscapes they inhabit. Large strokes create a general image, but the subtle details are what add the beauty. The depictions of painting are, I think, a skillful artistic demonstration of the power and meaning of art. — Henry @realHenryB
Hurt by Paradise
Greta Bellamacina evokes the style of Woody Allen, with the film’s opening shots mirroring Manhattan, showing us an all too familiar city in a more poetic and romantic light. Like Allen, Bellamacina’s film has an autobiographical element to it. Bellamacina has also been a struggling poet in London. It must take a great deal of courage, to put this version of yourself on the big screen. Although, Hurt by Paradise does share some striking similarities with Frances Ha, it is its own film, full of life and charm. The film’s strengths not only lie in its performances, but its cinematography by Fabio Paleari and Emily-Jane Robinson, who bring the film to life. — Bianca @the_filmbee
Knock Down The House
It almost seems too much to hope for, even when you know what’s coming. Alexandria Ocasio-Cortez is running in the Democratic primary in New York’s 14th Congressional district against incumbent, Joe Crowley. She rides the elevator, heading to a bar full of her supporters to hear the result. Director Rachel Lears began work on Knock Down The House the day after Trump was elected, arranging with Justice Democrats to follow four new female candidates in the Primary who heralded real change in America. Cori Bush, Amy Vilela and Paula Jean Swearengin don’t make it. Outside the bar, Ocasio-Cortez stops. “I’m scared, I don’t know if I want to go in,” she tells her boyfriend. Finally, she does – to thunderous applause. It almost seemed too much to hope for. Turns out it was worth it. — Sean @Seanj87
Beats
The preoccupation of the characters in Beats is to attend a rave. One that will give them the much needed relief they long for within a politically charged 90’s Scotland. The journey is bumpy, funny and gorgeously shot in rich monochrome, bar the tiny splashes of colour. They’re just subtle enough that we get to see just how much these characters require their music without feeling overpowered. The rave culminates in a 2001-inspired kaleidoscopic synthesis of catharsis and platonic love between the two leads. It’s a saturation choice that highlights the most primal instincts of the human desiderate, and one of the best films of the year because of it! — Connor @Calbody
Us
Jordan Peele’s sophomore film Us is an interesting entanglement of traditional horror and social commentary. Much like his directorial debut Get Out, Us plays like a thriller, with terrific scares and gore, but it’s the underlaying themes that are bound to keep you up at night. The film follows Adelaide (career-best Lupita Nyongo) and her family on holiday when a family of their doppelgangers invade their home. Peele injects enough thrills to make the film accessible for big audiences, but make no mistake, Us is a difficult film. Not everything is watertight but who cares when it’s this well done? Themes of class and the question of nature-vs-nurture are heavily present here and they are bloody well handled. Nyongo’s double-performance is one for the ages. — Maria @marialattila
Long Day’s Journey Into Night
Bi Gan’s Long Day’s Journey Into Night has been hailed as an astronomical technical achievement. The first hour and a half, presented in dreamy almost disconnected segments, tells a simple story of love in the face of a gang violence, but actually serves as a delivery system for thematic devices. An apple, a mule, a mine shaft, a spinning house and everything that they come to represent are presented in painstaking detail, planted within the viewers mind. And then… the 3D 59 minute long take happens. This too, is simple. A man meets the woman he loved and tries to get her back and yet, it feels like much more because the thematic devices return. A mule contextualizes an apple, contextualizes a spinning house, contextualizes a love. It’s immensely satisfying and beautiful. — Stephen @STronicek
This World Won’t Break
This World Won’t Break comes from Texas filmmaker Josh David Jordan, and serves as a gorgeously filmed love letter to the state and its brand of country music. Highlighted by fantastic performances, the film is a snapshot of great talent in the face of waning ambition. Jordan and cinematographer Chris Bourke seem to be perfectly in sync with one another, framing the drama in such a way that every shot looks like a piece of art on its own. Clearly, the two men have great affection for the Dallas area. Describing it to outsiders can be pretty paradoxical; it is both exactly how you think it would be and completely defiant of your expectations. Texas never really leaves your soul and seeing it here recaptures everything I loved about the Lone Star State. — Andy @FatDudeFlicks
Avengers: Endgame
After last years devastating events that took place in Infinity War, fans now get to witness the Endgame. 11 years and 22 films, it all comes down to this final epic conclusion to an unforgettable trophy case of films. As if the events of Infinity War weren’t emotional enough, this direct follow-up is just as emotional, maybe if not more so. You’ll laugh, cry and scream, this film will take you on a roller coaster of emotions. After 10 years, this is the end, an amazing conclusion and serves as the best “MCU” film of all time. — Alex @AlexMalawski
Ash Is Purest White
Chinese filmmaker, Jia Zhangke, can count himself among the thriving, consistently great works, coming out of Asian cinema. His previous two films, A Touch of Sin and Mountains May Depart, were received with earnest admiration. And his latest, Ash is the Purest White, sees the magnetic Zhao Tao play Qiao, the beau of a mob boss, Bin, set amidst the declining Datong. A masterfully composed drama, part of the film’s beauty and bravura is the resistance to throw in scenes of violence and tension. No, this is a far more mellow affair. Only the midpoint scene involving a vicious attempt on Bin’s life, reaches such adrenaline. And its a key moment. Qiao’s dedication to the man, never quite reciprocated, drives the narrative into a second half of blissful melancholy and a kind of quietly epic character study. — Robin @Filmotomy