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The High Note: a Pleasant Rom-Com at Exactly the Wrong Time (Review)
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Olympic Dreams: Lost in PyeongChang Before Sunrise (Review)
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The Final Wish: An exercise in the domestic paranormal (Review)
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The Infiltrators: a well-crafted docu-drama about a reverse prison break (Review)
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Beautiful Things: The Spiritual Journey of “Stuff” (Review)
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Beautiful Things: The Spiritual Journey of “Stuff” (Review)
The High Note: a Pleasant Rom-Com at Exactly the Wrong Time (Review)
The Vast of Night: A Throwback-y Treat (Review)
Eeb Allay Ooo!: shouting at monkeys to shine a light on cultural iniquity (Review)
The True History of the Kelly Gang: postmodern fireworks for Kurzel’s meat pie Western
(Review)
Crazy World: Expect the Unexpectable (Review)
Crow: The Legend (VR) is a Shot of Pure Happiness
(Review)
Tommaso: An autobiographical portrait of a dysfunctional relationship (Review)
Olympic Dreams: Lost in PyeongChang Before Sunrise (Review)
The Grey Fox: A Nuanced Character Study of the Turn-of-the-Century Outlaw
(Review)
Bad Education: Hugh Jackman shines in a smart dramedy (Review)
The Final Wish: An exercise in the domestic paranormal (Review)
Snowpiercer: a post-apocalyptic journey into night (Review)
The Lovebirds: Nanjiani and Rae’s spark makes for a worthwhile watch (Review)
Capone takes neurosyphillis to the extreme as Tom Hardy indulges his worst impulses
(Review)
Proximity: Independent Sci-Fi With High Budget Aspirations (Review)
Arkansas, or The Cursed Blessing of Bland Beauty (Review)
Scoob!: Scooby-Doo and the Case of the False Marketing Campaign (Review)
Favolacce: How to Tell Bad Tales in a Glorious Way (Review)
My First Film: Artist Zia Anger looks back on their greatest failure
(Review)
A Rainy Day In New York: a tiresome, miscast drama that grows on you at the end
(Review)
The Last Full Measure: tremendous performances in service of a staid narrative
(Review)
Robert the Bruce: bland Braveheart follow-up fails to inspire (Review)
And Then We Danced: a contemporary coming-of-age masterpiece (Review)
Ema: Hypnotic dance scenes cannot save flawed family drama
(Review)
Misbehaviour: A story with Many Sides and an Invitation to Kindness
(Review)
Possessor: A smart, twisted take on the sci-fi horror hybrid (Review)
The Assistant: Julia Garner carries one of the year’s best films (Review)
The Infiltrators: a well-crafted docu-drama about a reverse prison break (Review)
Extraction: Impressive action held back by banal storytelling (Review)
The Invisible Man: a masterclass in sci-fi/horror, dread and social commentary
(Review)
Sea Fever: Creature Horror Meets a Quarantine Quandary (Review)
Dreamland: the Weirdest Movie you’ll Ever See (Review)
Corpus Christi is a compelling slice of life of a country in flux
(Review)
Never Rarely Sometimes Always: a genre-defying movie on the difficulties of adulthood
(Review)
Emma: Taylor-Joy charms in newest adaption of Austen’s witty romance
(Review)
Lady and the Tramp: a Heartfelt Dose of Nostalgia (Review)
Bombay Rose: a piquant tale of love, magic, and imagination (Review)
Onward: Pixar’s Magic is “Not So Easy To Master” (Review)
Seeing the Unseen: female autism and how to fall in love with diversity
(Review)
This World Won’t Break: the American Dream at its most real (Review)
Heroic Losers: a hilarious heist drama about the best of Argentinian values
(Review)
Santiago, Italia: a lesson in history and on the frailty of truth (Review)
I Want My MTV: a Must-See Slice of Rock N’ Roll History (Review)
Dive: Rituals in Water: a soothing documentary about swimming and playfulness
(Review)
Uncut Gems: a Masterpiece of American Dreams and Cinematic Nightmares
(Review)
The Call of The Wild: A Dog’s Guide to Humanity (Review)
James Vs His Future Self: time travel, sci-fi and life-changing conversations (Review)
To All The Boys: P.S. I Still Love You: More Letters for Lara Jean
(Review)
Bait: Britons, brace yourselves, your new Bard is here to stay (Review)
1917: A Race Against Time And A Fresh Interpretation Of The War Genre (Review)
First Love: Miike strikes back, and he has a lesson to teach (Review)
The Lighthouse: a hallucinatory high-seas allegory of perdition (Review)
The Personal History of David Copperfield: an imaginative retelling of Dickens’ classic tale
(Review)
Hail Satan? – A daring piece of thought-provoking goodness (Review)
Judy is Somewhere Near a Religious Tribute (Review)
Bombshell: a tale of feeble criticism with no real point to make (Review)
Portrait of a Lady on Fire: a superbly complex lesson in love (Review)
The Gentlemen is Guy Ritchie at his best (Review)
Rocketman: Egerton smashes the crowd and keeps the film alive (Review)
5 Acceptable Things About Tom Hooper’s “Cats” (Review)
Parasite: the well-mannered masterpiece that won over the West (Review)
Pain and Glory: art cinema has never been so mouthwatering (Review)
Speed of Life: sci-fi, relationships and David Bowie (Review)
I Lost My Body is a celebration of memory and self-discovery (Review)
Hustlers is a dangerous shot of uncompromisingly feel-good fun (Review)
Love, Antosha is the Most Important Film You’ll See This Year (Review)
Marriage Story is All Talk and No Play (Review)
Where’d You Go, Bernadette Is the Collateral Damage of Many Confused Ideas (Review)
Star Wars: The Rise of Skywalker doesn’t always make sense (Review)
The Two Popes explores what it means to be human (Review)
Little Women: Ronan and Chalamet shine in Gerwig’s missed opportunity (Review)
The Report is Amazon’s Love Letter to Political Dramas (Review)
Citizen K: a compelling political tale flawed with facile rhetoric (Review)
QT8: The First Eight: let’s talk about Quentin Tarantino (Review)
Knives Out: Johnson’s whodunnit captivates, entertains and subverts expectations (Review)
The Irishman: Scorsese’s ode to time is a feast for the eyes (Review)
The Murder of Nicole Brown Simpson: an ineffective cold serving of clichéd feminism
(Review)
Frozen II Dwells in The Past, And So Does Disney (Review)
Extra Ordinary: A Quirky And Clever Romp Complete With Witchcraft and Ghosts
(Review)
Seberg is a well-crafted thriller about human connection (Review)
Abominable is charming, entertaining and full of emotion (Review)
Brittany Runs a Marathon and Wins Over Our Hearts (Review)
The Beach Bum: Korine’s naughty comeback will make you shiver with pleasure
(Review)
The Farewell: a delightful investigation on love and relationships (Review)
Light of My Life Enlightens on the Lack of Women in Stories (Review)
Pink Wall: a charming, merciless companion to human relationships (Review)
Disney’s Maleficent: Mistress of Evil is not a classic fairy-tale, but a coming-of-age story (Review)
Martin Eden: the well-trimmed tale of an outdated Everyman (Review)
Jojo Rabbit is delightfully absurd and surprisingly poetic (Review)
Cold Case Hammarskjöld: Let’s Make Documentaries Great Again (Review)
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)
An Officer And A Spy (J’Accuse): Jean Dujardin excels in Polanski’s drama
(Review)
Downton Abbey: an enjoyable yet innocuous last song (Review)
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)
Luce is a clever analysis of human nature (Sundance Film Festival Review)
Once Upon a Time in… Hollywood: Tarantino Loves Cinema! (Review)
The Dead Don’t Die is that film you grow to love and you don’t know why (Review)
I See You: Helen Hunt stars in dark, clever, hauntingly good horror thriller (Review)
Ode To Joy: Martin Freeman shines in heartwarming rom-com
(Review)
The Captor: “absurd but true” Stockholm Syndrome story is entertaining and darkly comic though not so absurd after all (Review)
Toy Story 4: life lessons from (not so) lost toys (Review)
Late Night: Thompson and Kaling inspire and entertain in insightful comedy drama
(Sundance Film Festival)
Stan & Ollie is moving, nostalgic and full of heart (Review)
Aladdin: Disney’s live action is visually stunning but doesn’t touch our hearts (Review)
Extremely Wicked, Shockingly Evil and Vile: Zac Efron shines in Ted Bundy drama (Review)
Avengers: Endgame is the emotional family reunion we needed (Review)
Charlie Says: Matt Smith is Charles Manson in powerful psychological drama (Review)
The Bill Murray Stories: Bill Murray teaches us how to live (Review)
After the Wedding: Williams and Moore excel in exquisitely moving drama (Review)
Blinded by the Light is the Springsteen feel-good drama we needed (Review)
I Am Mother: Sputore’s clever sci-fi thriller is exquisitely unsettling
(Sundance Film Festival)
2019 Sundance Film Festival: Final Line-Up
The 25 Best Films of 2018
The White Crow: Fiennes’ Nureyev inspires and captivates at London Film Festival (Review)
Assassination Nation: Review (London Film Festival)
Halloween 2018: ten more films to watch this year
The Kindergarten Teacher: Review (London Film Festival)
The Favourite: Review (Venice Film Festival)
Best of 75 Venice Film Festival: Suspiria
A Star is Born and Vox Lux: the consequences of fame at the Venice Film Festival
Roma: Cuarón’s memories come to life in exceptional tale about identity
“Anna and the Apocalypse” and the rise of the genre mashup
Steel Country: Andrew Scott is exceptional in clever crime drama (Review)
Best of Edinburgh Film Fest: Unicorn Store (Review)
Our 15 favourite movies of 2017
Three Billboards Outside Ebbing, Missouri is the film you absolutely need to watch (Review)
The 5 films you should watch this Halloween
‘It’ Review: all stereotype and no scare
Our Souls At Night is on Netflix today and is all about life after loss (Review)
The Leisure Seeker and Loving Pablo: the best and worst on-screen couples at the 74° Venice Film Festival
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