CANNES FILM FESTIVAL

SUNDANCE FILM FESTIVAL

VENICE FILM FESTIVAL

TIFF

EDINBURGH FILM FESTIVAL

LONDON FILM FESTIVAL

SXSW

TRIBECA FILM FESTIVAL

Venezia 79: 20 Films to Watch at the 2022 Venice Film Festival
2022 Venice Film Festival: All the Stars Confirmed in Attendance
Venice Immersive: Virtual Reality Line-Up for Venezia 79 (2022)
2022 Venice Film Festival: Venezia 79 Line-Up Announced
Sophie Galibert & Alex Trewhitt on Cherry: Tribeca Interview
Jerry & Marge Go Large (Tribeca Review)
Pink Moon (Tribeca Review): A Bizarre & Honest Exploration of Mortality
A Love Song (Tribeca Review): Expert Minimalism
Attachment (Tribeca Review): A Unique Spin on Possession
Iqbal Theba on Land of Gold: Tribeca Interview
Land of Gold (Tribeca Review): “The Choice in Between”
Clayne Crawford on The Integrity of Joseph Chambers: Tribeca Interview
The Courtroom (Tribeca Review): Musings on Immigration Law
Employee of the Month (Tribeca Review): A Flat Satire
In Her Name (Tribeca Review): An Awkward Family Drama
Cherry (Film Review): A Charming Comedy About Embracing Adulthood
Rounding (Tribeca Review): An Uneven Thriller Experiment
My Love Affair with Marriage (Tribeca Review): The Truth About Love
Next Exit (Tribeca Review): Searching for Meaning
Family Dinner (Tribeca Review): A Stomach-Churning Slow-Burn
The Integrity of Joseph Chambers (Tribeca Review): Proving One’s Worth
Metronom (Cannes Review): “The Time to Hesitate is Through”
Falcon Lake (Cannes Review): A Ghostly Tale of Young Love
Tribeca 2022: 15 Films to Watch at the Festival
The Green Perfume (Cannes Review): Screwball Cure for Pledged Crimes
El Agua (Cannes Review): Mythology & Naturalism Through the River Creeks
Aftersun (Cannes Review): Sun, Sea & Melancholy
Scarlet (L’Envol) Cannes Review: An Endearing Tale with Magical Realism
One Fine Morning (Cannes Review): Finding Unexpected Love
Enys Men (Cannes Review): The Sounds of Isolation
Triangle of Sadness (Cannes Review): Flawed Super-Rich Satire
Armageddon Time (Cannes Review): A Personal Coming-of-Age Film
Final Cut (Coupez!) Cannes Review: Un Cut of the Dead
2022 Cannes Film Festival: 15 Films to Watch
TRAMPS! (BFI Flare Review): All Hail The New Romantics!
The Novice (BFI Flare Review): First or Last
The Sound of Scars (BFI Flare Review): A Truly Powerful Watch
The Divide (BFI Flare Review): Volatile A&E Drama
Sirens (BFI Flare Review): Rock ‘n’ Roll in Lebanon
Wildhood (BFI Flare Review): Ode to the Mi’kmaw
Cop Secret (BFI Flare Review): Reykjavík Vice
A Distant Place (BFI Flare Review): Prejudice Versus Love
Cha Cha Real Smooth at SXSW: Red Carpet Interview
To Leslie (SXSW Review): Riseborough & Maron Anchor Affecting Drama
Soft & Quiet (SXSW Review): The Sickening Horrors of Reality
Girl Picture (BFI Flare Review): The Thrill of Teenage Discovery
The Prank (SXSW Review): A Messy Bait-and-Switch Thriller
Charli XCX: Alone Together (BFI Flare Review): How We Felt Then
Bodies Bodies Bodies (SXSW Review): A Madhouse of Fun
Slash/Back (SXSW Review): Vibrant Inuit Alien Invasion Film
Linoleum (SXSW Review): Jim Gaffigan Delivers in Sci-Fi Dramedy
Pretty Problems (SXSW Review): Champagne and Emptiness
The Girl From Plainville on Hulu (SXSW): Episode 1 Review
I Love My Dad (SXSW Review): A Riotous Father-Son Road Trip with A Twist
Apollo 10 1/2: A Space Age Childhood: SXSW Review
Watcher (SXSW Review): Maika Monroe Makes Her Return to Horror
We Are Not Ghouls (SXSW Review): Guantanamo Doc Inspires
Murina (Glasgow Review): Chilling Parental Control
The Unbearable Weight of Massive Talent: SXSW Review
Crows Are White (SXSW Review): The Cages We Build & Escape
Mandrake (Glasgow Review): Root Of All Evil
Happening (Glasgow Review): The Ugliness of Law
Everything Everywhere All At Once (SXSW Review): Loving Insanity
Moon, 66 Questions (Glasgow Review): A Delicate Look at Two Estranged Souls
Prayers for the Stolen (Glasgow Review): A Haunting Masterwork
Angry Young Men (Glasgow Review): Gang Capers
Adult Adoption (Glasgow Review): Seeking Parental Guidance
Anaïs in Love (Glasgow Review): Light, Sun-Kissed Romance
Benediction (Glasgow Review): The Aftermath of War
Nitram (Glasgow Review): The ‘Making’ of a (Gun)Man
SXSW 2022: 15 Films to Watch at South By Southwest
Yuni (Glasgow Review): Quietly Determined Liberation
Cette Maison (Berlin Review): Jumbled Visions of Grief
Maika (Sundance Review): A Cute Nostalgic Ride for 90s and 2000s Kids
Director Alli Haapasalo on Girl Picture (Sundance Interview): “A Film About the Need to Be Seen”
Editor Chris Witt on Breaking (Sundance Interview)
Sharp Stick (Sundance Review): “Be Proud of Your F*ing Scars”
Alice (Sundance Review): Keke Palmer Shines in So-So Slavery Drama
Resurrection (Sundance Review): An Unhinged Motherhood Drama
loud and clear reviews rising phoenix evan rachel wood part 1
Phoenix Rising, Part 1 (Sundance Review): Evan Rachel Wood Tells Her Truth
Honk for Jesus. Save Your Soul. (Sundance Review): Hall & Brown Are a Hoot
My Old School (Film Review): Deception & Survival
Cha Cha Real Smooth (Review): The Standout of Sundance 2022
Dual (Sundance Review): Sci-Fi Flick Fumbles at the Finish Line
Good Luck to You, Leo Grande (Review): An Ode to Self-Love
Call Jane (Film Review): Banks & Weaver Deliver in Abortion Drama
FRESH (Film Review): Sebastian Stan Excels in Familiar Horror
When You Finish Saving the World (Sundance Review): A Deeply Felt Family Drama
The Panola Project (Sundance Review): Local Hero
Hallelujah (Sundance Review): Family Ties
2022 Sundance Film Festival: 10 Films to Watch
Director Hong Sung-eun on Aloners (Torino Interview)
Sisters (Soeurs) FFF Review: Slow Start, Better Finish
Fly Me Away (Envole-moi) FFF Review: Brotherly Love
The Enemy (L’ennemi) FFF Review: A Man of Many Faces
Margaux Hartmann (FFF Review): A Widow Seeks New Beginnings
The Speech (FFF Review): A Smart and Witty Low-Stakes Comedy
Aloners (Torino Review): The Burdens We Silently Share
La Chica Nueva (Torino Review): A Snapshot of Argentina
Une Jeune Fille Qui Va Bien (A Radiant Girl): Torino Review
Drive My Car (AFI Review): Short Story Adaptation Stirs the Soul
Sing 2 (AFI Review): Symphonic Sequel Hits All the Right Notes
Bruised (AFI Review): Berry is Fantastic in a Familiar Film
Swan Song (AFI Review): Mahershala Ali Delivers in Dual Roles
Vera Dreams of the Sea (AFI Review): Grief and Property
Jockey (AFI Review): Clifton Collins Jr At His Career Best
The Simple Charm of “Paris, 13th District” (AFI Fest Review)
tick, tick…BOOM! (AFI Review): Garfield’s Greatest Performance
Sweet Disaster (Raindance Review): Finding Peace in the Unexpected
Where’s Rose (Raindance Review): Manifesting Your Inner Demons
White Noise (Raindance Review): Into The Eye of the Alt-Right Storm
Youth V Gov (Raindance Review): Taking the Climate Crisis to Court
Benedetta (LFF Review): Paul Verhoeven’s Story of Forbidden Love
Ride The Wave (Film Review): ‘Tomorrow and Every Other Day’
ear for eye (LFF Review): Challenging Call for Action
Bull (2021): A Lean, Mean Crime Thriller (LFF Review)
Hit the Road (LFF Review): Dynamic Road Trip Drama
Shepherd (LFF Review): An Atmospheric But Ordinary Horror
Queen Of Glory (LFF Review): Chaos, Colour, and Weed
The Hand of God: Maradona Maketh Man (London Film Festival Review)
Wheel of Fortune and Fantasy: Snapshots of Life (LFF Review)
Director Radu Jude on Bad Luck Banging or Loony Porn (LFF Interview)
The Souvenir: Part II (LFF Review): Personal and Tender Closure
Boiling Point (Film Review): Sizzling One Take Restaurant Drama
The Harder They Fall (LFF Review): An Unrestrained Western Riot
Il Buco: Delicate Cave-Based Descent (London Film Festival Review)
Belle: Beauty and The Beast and Online Bullying (LFF Review)
Bad Luck Banging or Loony Porn (LFF Review): Raging Romanian Satire
I’m Your Man (Review): Eggert & Stevens Shine in Smart Relationship Drama
The Electrical Life Of Louis Wain: A Biopic That Breaks Tradition (TIFF Review)
Petite Maman (TIFF Review): Céline Sciamma Stuns Again
After the Crossing (Traverser) Film Review: A Road To Eldorado
Delphine’s Prayers (Film Review): A Portrait of Strength & Suffering
Halloween Kills: The Sleep of Reason Produces Michael Myers (Venice Review)
Halloween Kills: il sonno della ragione genera Michael Myers (Recensione)
Old Henry Revives The Western Genre (Venice Film Festival Review)
Songs For The River (Film Review): Framing The Unfathomable
The Eyes of Tammy Faye: Chastain Captivates in Charming Biopic (TIFF Review)
The Humans (Review): Jenkins & Houdyshell Deliver in Dark Family Drama
Spencer: Brief Moments of Freedom (Venice Film Festival Review)
The Worst Person in the World: A Love Letter to Lost Souls (TIFF Review)
The Power of The Dog: Campion’s Cinematic Comeback is a Classic (TIFF Review)
America Latina (Venice Review): Daring & Disarming Character Study
Freaks Out (Venice Review): A Glorious Ode to Outsiders
Ana Lily Amirpour, Craig Robinson & Ed Skrein on Mona Lisa and the Blood Moon (Venice Interview)
The Card Counter (Review): “Someone To Find Your Way Home”
Last Night in Soho (Venice Review): The Monsters We Create
Dune (2021): Chalamet Shines in Immersive Adaptation (Venice Review)
Land of Dreams: Absurdism & Political Satire (Venice Review)
Venezia78: 20 Films to Watch at the 2021 Venice Film Festival
The Man Who Sold His Skin: A Reflection on Human Exploitation (Edinburgh Review)
The Road Dance (Film Review): Hope & Grief in the Hebrides
Ballad of a White Cow: Fighting Injustice (Edinburgh Review)
Annette: Bizarrely Out-of-Tune (Edinburgh Film Festival Review)
The Beta Test (Review): Some-Strings-Attached Sex
Mad God (Film Review): A Slice of Prophetic Delirium
Walk with Angels: Post-Apartheid Injustices (Edinburgh Film Festival Review)
Europa: Fear and Determination in Migration (Edinburgh Review)
The Justice of Bunny King (Edinburgh Review): Drama Done Right
Prince of Muck: A Life of Farming, Family and Cows (Edinburgh Review)
Titane (Cannes Review): Collisions of Flesh and Steel
False Positive (Review): A Melting Pot of Themes & Tones
Fathom (Tribeca Review): The Sound of Whales
The Perfect David: Aesthetic and Athletic Obsessions (Tribeca Review)
Director James A. Castillo on Madrid Noir (Tribeca Interview)
Do Not Hesitate (Review): War Drama Makes the Most of its Brief Runtime
Wu Hai (Tribeca Review): A Bleak, Hopeless Drama
The Lost Leonardo: Buzz and Fuzz in the Art World (Tribeca Review)
Catch the Fair One: Bleak but Thrilling (Tribeca Review)
Shapeless (Tribeca Review): An Unformed Psychological Drama
Glob Lessons (Tribeca Review): Indie Road Film Brims With Authenticity
All My Friends Hate Me (Review): Great Horror-Comedy for the Socially Anxious
Last Film Show (Tribeca Review): A Love Letter to Storytelling
Poser (Film Review): Questioning the Authenticity of Art
Mark, Mary & Some Other People (Review): The Ups & Downs of Open Relationships
Tribeca 2021: 20 Films to Watch at the Festival
Censor (Review): A Throwback to Video Nasties
The Other Side of the Underneath: “Strength is Madness”(Femspectives Review)
Our People Will Be Healed: Cree Culture (Femspectives Review)
10 Spectacular Shorts from SIFF 2021
Wyrm (Film Review): Popping Collars
Under the Open Sky: Kōji Yakusho Excels in Patient Drama (SIFF Review)
Mother’s Milk: An Entrancing Cinematic Odyssey (SIFF Review)
Father (Film Review): It’s the 21st Century
Captains of Zaatari: Skimming the Surface of Refugee Camps (SIFF Review)
Summertime (SIFF Review): An Electrifying Portrait of LA
The Dog Who Wouldn’t Be Quiet: Transient Bliss (SIFF Review)
Criollo: A Culinary Journey through Uruguay (SIFF Review)
Athanor – The Alchemical Furnace: Understanding Jan Švankmajer (SIFF Review)
The Unknown Saint: What Do You Believe In? (SIFF Review)
Caterpillars: Central African Republic Documentary Enlightens (SIFF Review)
The Shepherdess and the Seven Songs (SIFF Review)
The Legend of Hei: A Charming, Kid-Friendly Adventure (SIFF Review)
Sweat: The Woman Behind the Screen (SIFF Review)
Preman: Indonesian Thriller Disappoints (SIFF Review)
All Sorts (SIFF Review): The Surreal World of the Office
Strawberry Mansion (Film Review): A Journey Through Dreams
SXSW Online XR Took Us to Austin: Interview with Blake Kammerdiener
SIFF 2021: 10 Films to Watch
Alex Noyer & James Jagger on “Sound of Violence”: SXSW Interview
Under The Volcano (Review): The “Magic” of AIR Studios Montserrat
Stacey Gregg on Feature Debut “Here Before”: SXSW Interview
Rūrangi (BFI Flare Review): Celebrating Trans Representation
Clerk (SXSW Review): Funny and Surprisingly Touching Doc
Reklaw: Quirky Vigilantes Clean Up Well (SXSW Review)
Cowboys: An Intelligent Portrayal of Transgenderism (BFI Flare Review)
Language Lessons: A Heartfelt Ode to Human Connection (SXSW Review)
The Drover’s Wife The Legend of Molly Johnson: SXSW Review
Jump, Darling: Gloriously Funny, Seriously Touching (BFI Flare Review)
My First Summer: A Tender Tale of Young Sapphic Love (BFI Flare Review)
Mama Weed: Isabelle Huppert Elevates Comedic Crime Flick (FFF Review)
Writer-Director Elle Callahan on “Witch Hunt” (SXSW Interview)
Violet (SXSW Review): Justine Bateman Gives A Voice to Anxiety
Jocelin Donahue, Joe Swanberg & Mickey Keating on Offseason (Interview)
Violation (Film Review): Complex & Dynamic Genre Thrills
Sound of Violence (Film Review): Gory Midnight Fun
The Hunt for Planet B (Film Review): Masterful Doc of the Stars
Alien on Stage (Review): The Best “Alien” Film Since “Aliens”
Swan Song (Review): An Aging Hairdresser Looks Back on His Life
The Fallout (SXSW Review): A Truthful & Traumatic Teenage Tragedy
Women Is Losers (Film Review): Lorenza Izzo Is Winner
Witch Hunt (SXSW Review): Fantasy Thriller Tackles Today’s Troubles
Offseason (Film Review): Evocative & Exciting Horror
The Feast: A Slow-Moving Horror Drama Devoid of Scares (SXSW Review)
Paul Dood’s Deadly Lunch Break (Review): Revenge At Its Most Glam-Rock
United States vs. Reality Winner: A Plea for Freedom (SXSW Review)
The Return: Her Life After ISIS (SXSW Review)
Our Father (SXSW Review): The Complexities of Sorrow and Sisterhood
Broadcast Signal Intrusion (Review): Harry Shum Jr Falls Down a Rabbit Hole
Stop And Go (Review): COVID Road Trip Comedy is a Laugh Riot
Here Before (SXSW Review): Compelling Psychological Thriller
Potato Dreams of America: Coming of Age Dramedy Delights (SXSW Review)
Poly Styrene: I am a Cliché (SXSW Review): Study of a Punk Legend
Luchadoras: Harrowing Filmmaking Highlights Heroic Women (SXSW Review)
Nathaniel Kahn on The Hunt for Planet B (SXSW Interview)
Home Front (Des Hommes): Psychological Wounds of War (FFF Review)
SXSW 2021: 15 Films to Watch at South By Southwest
Danielle Kummer and Lucy Harvey on Alien on Stage (SXSW Interview)
In Bed with Victoria: A Comedic Drama on Modern Women (FFF Review)
Night Shift: (Un)Realistic Police Work (FFF Review)
Stephen Meek, Mallory Everton, & Whitney Call on Stop And Go (Interview)
Beans: The Youth Are Starting to Change (Miami Film Festival Review)
Love Affairs: Subtly Complex Love Story Enchants (FFF Review)
Quo Vadis, Aida? – Revisiting A Dark Era (Miami Film Festival Review)
The Translators: A Whodunnit, a Howdunnit, and a Whydunnit (FFF Review)
Ludi: From Struggles to Strengths (Miami Film Festival Review)
Surge (Review): A Sensory Pursuit for Primal Liberation
Sin La Habana: Anything for a New Home (Miami Film Festival Review)
Director Aneil Karia on Feature Debut Surge (GFF Interview)
Our Midnight: A Captivating Ode To Lost Souls (GFF Review)
Castro’s Spies: Detailed Documentarian Captivates (GFF Review)
A Brixton Tale: A Well-Edited Romance (GFF Review)
Sweetheart: A Charming, Heartfelt Coming of Age Film (GFF Review)
Tina Releases the Singer from her Past (Glasgow Film Festival Review)
Back to the Wharf Values Density Over Simplicity (GFF Review)
Vicious Fun: Clever, Ironic and Effortlessly Entertaining (GFF Review)
Iorram (Boat Song): Traditions and Tales of the Scottish Hebrides (Glasgow Film Festival Review)
Dreams on Fire (Review): A Fascinating Slice of Japanese Subculture
The Toll: Black Comedy Meets Crime From New Welsh Talent (GFF Review)
The Mauritanian: Exposé on Guantanamo Bay Educates & Enrages (Review)
Gunda (Glasgow Review): The Secret Life of Pigs
Jumbo: Coming-of-Age Shows Unconventional Love (Glasgow Film Festival Review)
Enemies of the State: A Reminder That Truth is “Never Simple” (Glasgow Film Festival Review)
Undergods: An Anthology of Despair (Review)
Riders of Justice (Film Review): Flawless Storytelling
Da Capo: School of K-Rock (Glasgow Film Festival Review)
Cody Calahan on “Vicious Fun” (Glasgow Film Festival Interview)
The Old School of Capitalism: An Intriguing Study of Workers’ Rights (Review)
Land and Freedom: What Does it Take to Win a Revolution? (Review)
Flee (Film Review): Moving Refuge Documentary
The World to Come (Film Review): Smart, Moving Period Romance
Lou Ward on Tinker: “Memories are What Make ‘You’ You” (Interview)
Land: Robin Wright ’s Solid Directorial Debut (Sundance Review)
Hive (Sundance Review): Rebellion In the Face of Patriarchy
One For The Road: A Heartfelt, Emotional Ride (Sundance Review)
Eight for Silver: Period Werewolf Film Thrills (Sundance Review)
Judas and the Black Messiah (Review): Kaluuya Dominates Dynamite Drama
Prisoners of the Ghostland: Nicolas Cage Fights For Humanity (Sundance Review)
The Sparks Brothers: The Sundance Review Fanfare!
Prime Time: A Claustrophobic Thriller With No Thrills (Sundance Review)
John and the Hole (Sundance Review): Mesmerizing Pyschological Thriller
Passing: Well-made Directorial Debut for Rebecca Hall (Sundance Review)
Cryptozoo (Sundance Review): A Kaleidoscopic Adventure in Animation
Mass (Review): An Immaculate Acting Showpiece
Try Harder!: The Hidden Cost of Being the Best (Sundance Review)
On the Count of Three (Review): A Tense, Exciting Black Comedy
How It Ends: Amusing Episodic Comedy (Sundance Review)
The Pink Cloud: Vibrant Surreal Cinema Anticipates Reality (Sundance Review)
CODA (Review): Silence is Golden in Deaf Family Dramedy
Seeds of Deceit (Review): Thought-Provoking Fertility Doctor Case Study
When We Were Bullies: Meandering Nostalgia (Sundance Review)
Force of Habit: a Claustrophobic Contour of the Female Gaze (Raindance Review)
Stardust (Review): A Bowie-Inspired, Bowie-Less Movie
Descent: A Free Dive into the Depth of the Human Mind (Raindance Review)
Sublet: The Lessons We Learn From Strangers (Newfest Review)
The Mystery of the Pink Flamingo: Inorganic Sexiness and How to Give In (Raindance Review)
Antarctica: a cynically comic high school drama (Raindance Review)
Materna (Raindance Review): a Female Portrait of the True New York Life
Under the Open Sky: A Clouded and Bleak Japanese Drama (AFI Fest Review)
Non Western: Love, Conservatism and Modern Women (Raindance Review)
Apples: New Memories, New Lives (AFI Fest Review)
Smith: Local Crime Mystery is Worth Supporting (Indie Memphis 2020 Review)
Monsoon (Review): A Smart Allegory for Vietnam’s Relationship with the West
So Late So Soon: Art in the Face of Death (Indie Memphis 2020 Review)
The Intruder: A Little Too Much Is Left to the Imagination (AFI Fest Review)
Nuevo Orden: Stimulating But Divisive Story of A Dystopian Mexico (AFI Fest Review)
Shadow in the Cloud: Deliriously Dopey Genre Fun (AFI Fest Review)
Collective: Timely Documentary Rewards Patient Viewers (AFI Fest Review)
After Love: a Film about Love and Revelations Distanced by the Channel (LFF Review)
American Thief: a Muddled Narrative Overshadows Some Good Ideas (Indie Memphis 2020 Review)
Ammonite (LFF Review): A Story Of Opposites Told Best By Hands
Rose: A Love Story – A Dark and Tender Romance Challenged By Illness (LFF Review)
Belushi: a Moving, Textured Portrait of the Beloved Comedic Actor (AFI Fest Review)
Nine Days: A Stunning Investigation on Life (AFI Fest Review)
Sound of Metal: The Beauty of Silence (AFI Fest Review)
Shiva Baby: A Short Film’s Evolution Into One of The Year’s Best Indies (Indie Memphis 2020 Review)
Cicada: A Tender Love Story Bolstered by Authentic Performances (NewFest Review)
Limbo (LFF Review): An Ode to A Past Identity
Wildfire (Review): Allegoric Tale of (Northern) Ireland’s Traumatic Past
A Common Crime (Un Crimen Común) Review: Political Drama Disguised as a Thriller
The Reason I Jump: a Sensorial Experience about Non-Verbal Autism (LFF Review)
Minari: A Beautiful Family Drama Steeped in Detail (Review)
French Exit (NYFF Review): Michelle Pfeiffer Shines in a Surrealist Comedy
Chess of the Wind (LFF Review): Rediscovered Iranian Drama is a Revelation
Undine: A Smart and Intoxicating Mythic Romance (LFF Review)
I Carry You with Me: a Deeply Moving Immigrant Love Story (Review)
Time: Delicately Made Documentary Beautifully Balances Hurting with Hope (LFF Review)
Supernova: Firth and Tucci Shine, But the Fireworks Do Not Go Off (LFF Review)
Farewell Amor (Film Review): “So We Danced”
Honeymood: What it Means to Be in Love with Someone, and with Yourself (LFF Review)
Herself: Dublin’s Heartfelt Story of Emancipation and Humanity (LFF Review)
180 Degree Rule: A Somewhat Predictable Yet Darkly Compelling Debut (LFF Review)
The Painter and the Thief explores the Strange Places Inspiration Leads Us (LFF Review)
Small Axe: Steve McQueen’s Remarkable Achievement (Review)
Mogul Mowgli: Riz Ahmed Excels, but the Film Stumbles (Review)
The Town of Headcounts (Ninzu No Machi) Review: The Best Dystopian Drama You’ll See This Year
Wolfwalkers: A Fantastical Folk Tale Full of Heart and Humanity (Review)
Virtual Film Festivals: A Conversation
MLK/FBI: One of the Year’s Best, Most Essential Docs (NYFF58 Review)
Waikiki: A Psychedelic Exploration of Trauma and Cultural Survival (Review)
On the Rocks: Sofia Coppola’s Caper Comedy is Classically Charming (NYFF Review)
Pieces of a Woman: Vanessa Kirby Shines as the Film Flounders (Review)
Summer of 85 (Été 85): Raw, Wise and Heart-Wrenchingly Good (Review)
The Palace on the Sea: A Poignant Look at Life After Death (Taiwan Film Festival Edinburgh)
The Father (Film Review): Hopkins Ages Like a Nice Chianti
Where the Seagull Flies: Conventional Melodrama Doesn’t Take Off (Taiwan Film Festival Edinburgh)
Another Round (Druk): A Boozy Joy Highlighted By A Splendid Mads Mikkelsen (Review)
One Night in Miami (Review): “It’s Been A Long Time Coming, But A Change Is Gonna Come”
Akilla’s Escape: Classic Noir Style Melds Beautifully with Modern Themes (Review)
Penguin Bloom: Naomi Watts elevates a formulaic drama (Review)
Nomadland: Frances McDormand Anchors an American Odyssey for the Ages (Review)
Genus Pan (Lahi, Hayop): Looking Back to Find Ourselves (Review)
The Bride Who Has Returned From Hell: An Entertaining Yet Flawed Drama (Taiwan Film Festival Edinburgh)
Six Suspects: A Melodramatic Murder Mystery that Delivers All the Genre Tropes (Taiwan Film Festival Edinburgh)
The Book of Vision (Venice Review): Sincere but Reductive
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
A City Called Dragon: A Solid, Crowd-Pleasing Wuxia Thriller (Taiwan Film Festival Edinburgh)
Mainstream (Review): “No-One-Special” To Fill Up Your Life
Ice Poison: A Desperate Life on the Edge of Poverty (Taiwan Film Festival Edinburgh)
TIFF 2020: 20 Films to Watch at the Toronto International Film Festival
Rebuilding Paradise: Ron Howard’s Crisp Next Step as a Documentarian (Review)
Little Girl: This Film Should Not Have Been Made (Review)
Saint Frances (Review): “You Can Have Faith in People Too”
A White, White Day (Review): How Ghosts Still Echo
Last and First Men: A Chilly Facade and an Intriguing History (Review)
Fanny Lye Deliver’d: Kind of Clever, but Ultimately a Bit Weird (Review)
Anthropocene: The Human Epoch – How humans are changing the Earth’s face for the worst (Review)
We Are Ten Shorts You Should Watch (We Are One Film Festival)
Crow: The Legend (VR) is a Shot of Pure Happiness (Review)
Never Rarely Sometimes Always: a genre-defying movie on the difficulties of adulthood (Review)
Bombay Rose: a piquant tale of love, magic, and imagination (Review)
Seeing the Unseen: female autism and how to fall in love with diversity (Review)
This World Won’t Break (Review): the American Dream at its most real
Santiago, Italia: a lesson in history and on the frailty of truth (Review)
I Want My MTV (Review): a Must-See Slice of Rock N’ Roll History
Dive: Rituals in Water: a soothing documentary about swimming and playfulness (Review)
James Vs His Future Self: time travel, sci-fi and life-changing conversations (Review)
Love, Antosha is the Most Important Film You’ll See This Year (Review)
The Report (Review): Amazon’s Love Letter to Political Dramas
Seberg is a well-crafted thriller about human connection (Review)
Abominable (Review): Charming, Entertaining & Full of Emotion
The Farewell (Review): a Delightful Investigation on Love & Relationships
Pink Wall: a charming, merciless companion to human relationships (Review)
Martin Eden: the well-trimmed tale of an outdated Everyman (Review)
Marriage Story: The Red Carpet Interview (London Film Festival)
Jojo Rabbit (Review): Delightfully Absurd & Surprisingly Poetic
Cold Case Hammarskjöld (Review): Let’s Make Documentaries Great Again
Koko-di Koko-da: an overconstructed dark tale for sunny Sweden (Review)
“Making Waves: The Art of Cinematic Sound” is a celebration of creativity and a walk down memory lane (Review)
Le Cri: Edvard Munch’s The Scream comes alive in Virtual Reality (Interview)
An Officer And A Spy (J’Accuse): Jean Dujardin excels in Polanski’s drama (Review)
Loud and Clear Reviews The Laundromat Antonio Banderas Gary Oldman Meryl Streep Netflix
The Laundromat is the Panama Papers drama we didn’t know we needed (Review)
Ad Astra: Brad Pitt’s journey to Neptune is intentionally emotionless (Venice Film Festival Review)
Joker is Pure Cinematic Perfection (Venice Film Festival Review)
Loveseat: The VR Theatre Performance That Helps Us Feel (Interview)
Luce is a Clever Analysis of Human Nature (Sundance Film Festival Review)
Virtual Reality: our 15 favourite experiences at the 2019 Venice Film Festival
2019 Venice Film Festival: 25 films you need to watch
The Dead Don’t Die (Review): That Film You Grow to Love & You Don’t Know Why
I See You: Helen Hunt stars in Hauntingly Good Horror Thriller (Review)
The Grizzlies: Miranda de Pencier on her extraordinary true story of acceptance and resilience (Interview)
Love Type D: Sasha Collington on Infectiously Enjoyable Rom-Com (Interview)
Ode To Joy: Martin Freeman Shines in Heartwarming Rom-com (Review)
Schemers: Interview with Dave McLean & Conor Berry (Edinburgh Film Festival)
The Captor: “absurd but true” Stockholm Syndrome story is not so absurd after all (Review)
Late Night (Review): Thompson & Kaling Entertain in Insightful Comedy Drama
Stan & Ollie (Review): Moving, Nostalgic & Full of Heart
Extremely Wicked, Shockingly Evil and Vile: Zac Efron shines in Ted Bundy drama (Review)
Charlie Says: Matt Smith is Charles Manson in Powerful Psychological Drama (Review)
Virtual Reality VR Gloomy Eyes Eclipse Horrifically Real Virtuality
Virtual Reality: our favourite experiences at Sundance and Venice
The Bill Murray Stories (Review): Bill Murray Teaches us How to Live
After the Wedding: Williams and Moore Excel in Moving Drama (Review)
Blinded by the Light is the Springsteen feel-good drama we needed (Review)
The Dress Up Gang: Interview with the Comedy Trio (Sundance Film Festival)
I Am Mother: Sputore’s clever sci-fi thriller is exquisitely unsettling (Sundance Film Festival)
2019 Sundance Film Festival: Final Line-Up
The White Crow (Review): Fiennes’ Nureyev Inspires & Captivates
Roberto Minervini on What You Gonna Do When The World’s On Fire? (Interview)
Assassination Nation (Review): “A Movie for Absolutely Right Now”
The Kindergarten Teacher (Review): A Clever Analysis of Human Behaviour
BFI London Film Festival 2018: 30 films you need to see
The Favourite: Human Nature At Its Most Manipulative (Venice Film Festival Review)
Suspiria (2018): A Clever Analysis of Human Nature (Review)
A Star is Born and Vox Lux: the consequences of fame at the Venice Film Festival
Roma: Cuarón’s Memories Come Alive in Exceptional Tale About Identity (Review)
Virtual Reality in Competition at 75th Venice Film Festival: full Line-up and guide
Anna and the Apocalypse and the Rise of the Genre Hybrid (Review)
75th Venice Film Festival, “In Competition”: full Line-Up
A Star Is Born: official poster (Warner Bros)
Bradley Cooper & Lady Gaga’s A Star is Born will premiere in Venice
Damien Chazelle’s First Man will open the 75th Venice Film Festival
some like it hot
75th Venice Film Festival: Restored Films Line-Up announced
Steel Country (Review): Andrew Scott Excels in Clever Crime Drama
Unicorn Store (Film Review): Kit in Unicornland
Three Billboards Outside Ebbing, Missouri (Review): the Film you Absolutely Need to Watch
venice virtual reality
Venice Virtual Reality: the new shape of cinema at the 74° International Film Festival
Robert Redford and Jane Fonda in Our Souls At Night Netflix
Our Souls At Night is on Netflix today, and it’s all about life after loss (Review)
Helen Mirren Donald Sutherland Venice Film Festival
The Leisure Seeker & Loving Pablo: the best and worst on-screen couples at Venezia 74