Films
TV
Reviews
Film Festivals
Interviews
Focus On
Virtual Reality
Awards & Events
News
Win
About
WandaVision: Episodes 1 and 2, A Delightful Beginning (Review)
Read More
Acasa, My Home: Between the City and the Sky (Review)
Read More
Locked Down: A Flawed but Interesting COVID Time Capsule (Review)
Read More
The Marksman: Neeson’s Eastwoodian Drama is Derivative but Diverting (Review)
Read More
Films
TV
Reviews
Film Festivals
Interviews
Focus On
Virtual Reality
Awards & Events
News
Win
About
Our Friend: Affleck, Johnson, and Segel Shine in True Story (Review)
Read More
Our Friend: Affleck, Johnson, and Segel Shine in True Story (Review)
The Mole Agent: Charming Spy Underlines Social Injustice (Review)
Dick Johnson is Dead: A Profound Meditation on Legacy and Loss (Review)
The Exception (Undtagelsen): Visually Stylish, Narratively Messy (Review)
Identifying Features: Mexican Drama Led by Unique Ambitions (Review)
Clapboard Jungle: The Behind-The-Scenes You Don’t Normally See (Review)
Acasa, My Home: Between the City and the Sky (Review)
Locked Down: A Flawed but Interesting COVID Time Capsule (Review)
Outside the Wire: A Pleasant Throwback to Trashy 90s Sci-Fi (Review)
The Marksman: Neeson’s Eastwoodian Drama is Derivative but Diverting (Review)
Battle in Space: The Armada Attacks – Action-packed Sci-Fi Anthology
(Review)
Spoor: Agniezska Holland Goes Hunting for the Human Condition (Review)
Black Bear: Plaza and Abbot Excel in Intriguing Indie (Review)
Imperial Blue Offers Realism and Fantasy in Unequal Doses (Review)
Dr Bird’s Advice for Sad Poets: Psychedelic Mastery (Review)
Bedlam: a Safari Through the US Psychiatric Jungle (Review)
Deliver Us from Evil: An Absolute Pleasure for Action Fans (Review)
The 20 Best Films of 2020 (According to Us)
News of the World: Tom Hanks Western is Touching and Timely (Review)
499: A Hypnotic Blend of Fact, Fiction, and History (Review)
Soul: Pixar ’s Latest is an Epic and Emotional Look at Life Itself (Review)
The Midnight Sky: Elegiac Astronaut Film Ascends (Review)
Wonder Woman 1984: Superhero Sequel is Earnest and Exhilarating (Review)
The Blackout: Invasion Earth – Tone-deaf Sci-fi Spectacle (Review)
Fatale: Hilary Swank Steals the Show in Twisted Thriller (Review)
Monster Hunter: Visually Arresting Action Epic Entertains (Review)
Climate of the Hunter: A Bizarre, Captivating Monster Flick (Review)
Greenland: Character Driven Disaster Movie Excites (Review)
Skylin3s: Madcap Action For Genre Movie Fans (Review)
Let Them All Talk: a Tremendous Improvisational Acting Showpiece
(Review)
Beasts Clawing At Straws: A Shark-Tattooed Debut (Review)
Promising Young Woman: Mulligan Mystifies in Scathing Social Screed
(Review)
Days (Rizi): Embracing Stillness (Review)
The Godfather, Coda: The Death of Michael Corleone: A More Fitting End
(Review)
Songbird: COVID-19’s First Film is an Innocuous, Glossy Horror Thriller
(Review)
The Prom: The Star-Studded Musical Sensation of the Season (Review)
Ma Rainey’s Black Bottom: Boseman & Davis Will Blow Audiences Away
(Review)
Wild Mountain Thyme: A Movie Lost to Time (Review)
My Darling Vivian: A Nuanced Portrait of Vivian Cash (Review)
Queer Japan: Strong Message Undermined by Lackluster Filmmaking
(Review)
All My Life: A Conventional Tearjerker Carried by Committed Leads (Review)
Godmothered: Bell and Fisher Charm Despite a Weak Screenplay (Review)
Safe Spaces: The Importance of Shutting Up (Review)
Minor Premise: A Study of Psychological Suspense (Review)
Cocoon: Delicate Coming-of-Age Story Follows a Familiar Path (Review)
Mank: The Finchers Take On Citizen Kane’s Origins (Review)
Dear Santa: USPS Christmas Spirit Remains Undefeated (Review)
Superintelligence: McCarthy Deserves Better (Review)
The Croods: A New Age: DreamWorks’ Stellar Sequel is a Delight (Review)
Thirst: A Cult Classic in the Making (Review)
The End of the Storm Puts Personal Twist on Liverpool Title Run
(Review)
Hillbilly Elegy: Howard Crafts an Elegy to Nothing (Review)
The Ringmaster: Why Do We Find Entertainment in Suffering? (Review)
A Christmas Carol: A Radical Retelling of the Timeless Tale (Review)
The Naked Island (1960): Islands, Ocean, and Emotional Comfort
The Princess Switch: Switched Again – Hudgens Elevates Christmas Trifle
(Review)
Operation Christmas Drop: Tropical Christmas Needs Snow (Review)
Embattled Fails to Grapple with the Spirit of MMA (Review)
Happiest Season: A Queer Christmas Comedy Classic (Review)
The Twentieth Century: Disruptive Debuts and Where To Find Them (Review)
A Brighter Summer Day: Defining the Taiwanese New Wave (Review)
Run: Sarah Paulson is Petrifying in Hulu’s Horror Thriller (Review)
The Gesture and the Word: It’s The Little Things That Count (Review)
Manos: The Hands of Fate – Worst Film Ever or Pure Genius?
Freaky: Brilliant Body Swap Slasher Comedy is a Blast (Review)
The Broken Hearts Gallery: Actresses Shine in Pleasant Romcom (Review)
The Life Ahead: Sophia Loren’s Radiant Return to Cinema (Review)
November: The Price of Love, the Price of a Soul (Review)
Force of Habit: a Claustrophobic Contour of the Female Gaze
(Raindance Review)
The Nest: An Eerie Drama About a Dysfunctional Family (Review)
Stardust: A Bowie-Inspired, Bowie-Less Drama (Raindance Review)
Descent: A Free Dive into the Depth of the Human Mind (Raindance Review)
Let Him Go: Costner and Lane Wow In Tense Western Thriller (Review)
Nobody Sleeps in the Woods Tonight, Due to the Lunatics Running Around
(Review)
Sublet: The Lessons We Learn From Strangers (Newfest Review)
Looted: Gritty Crime Debut is Touching, if a Little Bland (Review)
Jungleland: Jack O’Connell Brings True Grit to Boxing Tale (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)
Proxima: Eva Green Excels in Compelling French Astronaut Drama
(Review)
Lucky Grandma: Tsai Chin’s Crime Comedy is Charmingly Chaotic (Review)
Ronnie’s: For the Love of Jazz (Review)
Materna: a Female Portrait of the True New York Life (Raindance Review)
The Craft: Legacy – Modern Teen Drama Featuring Witches (Review)
Wendy: As Beautiful a Mess Can Be (Review)
Holidate: Raunchy Romcom is Simultaneously Snarky and Sweet (Review)
Under the Open Sky: A Clouded and Bleak Japanese Drama (AFI Fest Review)
Non Western: Love, Conservatism and Modern Women (Raindance Review)
(NewFest Review)
Apples: New Memories, New Lives (AFI Fest Review)
Song Without a Name: Gorgeous Historical Mystery Puts its Characters First
(Review)
Smith: Local Crime Mystery is Worth Supporting
(Indie Memphis 2020 Review)
Hall: Timely Horror/Thriller is Beautifully Horrifying (Review)
Monsoon: A Smart Allegory for Vietnam’s Relationship with the West
(NewFest Review)
Borat: Subsequent Moviefilm – Brilliant Satire Returns at the Right Time
(Review)
So Late So Soon: Art in the Face of Death (Indie Memphis 2020 Review)
Over the Moon: Netflix’s Moving and Multicolored Musical is Magnificent
(Review)
The Witches: a Perfectly Cromulent Take on Roald Dahl’s Classic
(Review)
The Intruder: A Little Too Much Is Left to the Imagination (AFI Fest Review)
The Place of No Words: A Mystical Journey Towards Acceptance (Review)
Nuevo Orden: Stimulating But Divisive Story of A Dystopian Mexico
(AFI Fest Review)
Love and Monsters: A Peppy Post-Apocalyptic Story With Spunk and Soul
(Review)
La Lutte des Classes: A Marxist Guide For Children (Review)
Rebecca: Modern Update Lacks Flair of Hitchcock’s Masterpiece (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)
I Am (Everything You Already Knew About) Greta (Review)
The Trial of the Chicago 7: Inspiring Political Mythology (Review)
Synchronic: Time Travel and the Search for Human Connection (Review)
Bloody Nose, Empty Pockets is a Loving Tribute to Small-Town Bars (Review)
American Thief: a Muddled Narrative Overshadows Some Good Ideas
(Indie Memphis 2020 Review)
A Call to Spy: a Feminist WWII Spy Film that has a Lot More to Tell than is Shown
(Review)
Ammonite: A Story Of Opposites Told Best By Hands (LFF Review)
Nocturne: Beautiful Visuals Accompany Two Prodigy Sisters (Review)
Honest Thief: Liam Neeson ’s Latest Thriller Plays to the Star’s Strengths (Review)
Rose: A Love Story – A Dark and Tender Romance Challenged By Illness
(LFF Review)
The Forty-Year-Old Version: A Bold, Witty Debut, Despite Its Stumbles
(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)
Evil Eye: A Dubious Boyfriend and a Misleading Marketing Campaign (Review)
The Old Ways: Folk Elements Keep an Uneven Horror Film Interesting (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: An Ode to A Past Identity (LFF Review)
(LFF Review)
Writer-Director-Actor Cooper Raiff on Feature Debut Shithouse (Interview)
Wildfire: a Slightly Allegoric Tale of (Northern) Ireland’s Traumatic Past
(LFF Review)
A Common Crime (Un Crimen Común): a Political Drama Disguised as a Thriller
(LFF Review)
On The Silver Globe, a Movie Devoid of Daleks
The Reason I Jump: a Sensorial Experience about Non-Verbal Autism
(LFF Review)
Shithouse: Loneliness and Unexpected Connections (Review)
Minari: A Beautiful Family Drama Steeped in Detail (Review)
French Exit: Michelle Pfeiffer Shines in a Surrealist Comedy (NYFF Review)
Black Box: Compelling Sci-Fi Supported by a Strong Cast (Review)
Chess of the Wind: Rediscovered Iranian Drama is a Revelation (LFF Review)
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: “So We Danced” (LFF Review)
Honeymood: What it Means to Be in Love with Someone, and with Yourself
(LFF Review)
Spontaneous: Teen Comedy is Unexpectedly Terrific (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 Lie: How far would you go to protect your family? (Review)
The Painter and the Thief explores the Strange Places Inspiration Leads Us
(LFF Review)
Mogul Mowgli: Riz Ahmed Excels, but the Film Stumbles (Review)
Saint Maud: The Newest Soon-to-Be-Polarizing Addition to Arthouse Horror (Review)
The Town of Headcounts (Ninzu No Machi) is the Best Dystopian Drama You’ll See This Year
(VIFF Review)
Wolfwalkers: A Fantastical Folk Tale Full of Heart and Humanity (Review)
District 9: Still Poignant and Depressingly Relevant Eleven Years Later
(Review)
The Boys in the Band: An Affecting Adaptation of the Acclaimed LGBTQ+ Play
(Review)
Kajillionaire: A Strange Yet Sweetly Sensitive Study of Toxic Familial Ties (Review)
The Glorias: 2020’s Second Best Gloria Steinem Story (Review)
Enyedi’s My Twentieth Century and My Analogical Bat-Signal
MLK/FBI: One of the Year’s Best, Most Essential Docs (NYFF58 Review)
Waikiki: A Psychedelic Exploration of Trauma and Cultural Survival
(Review)
Rialto: A Dour, Mid-Life Crisis Film Carried by its Leads (Review)
On the Rocks: Sofia Coppola’s Caper Comedy is Classically Charming
(NYFF Review)
LX 2048: Sci-fi Thriller Can’t Be Saved by a Capable Lead Performance
(Review)
Enola Holmes: A Lively Adaptation That Has Something for Everyone to Enjoy
(Review)
Howl’s Moving Castle: A Dazzling Animated Adventure for Grown-Ups (Review)
This is England: A Coming of Age Story of Identity, Belonging and Redemption
(Review)
The Way I See It: A Look at Two Presidencies Through Pete Souza’s Lens (Review)
Antebellum: Immense Potential With A Disappointing Outcome (Review)
Lost in London: Fantastic Technical Achievement Tied to a Cliché Story (Review)
Spiral: Rudimentary Social Horror With A Great Leading Turn (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: Hopkins Ages Like a Nice Chianti (Review)
I’ve Got Issues: Dark Comedy Heart with a Gentler Soul (Review)
White Riot: An Energetic, Rebellious Documentary About Punk Versus Racism
(Review)
The Devil All The Time: Slow-Burning, Gothic Crime Drama Achieves Greatness At The End
(Review)
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: “It’s Been A Long Time Coming, But A Change Is Gonna Come” (Review)
The Bay of Silence: A Thriller With Payoff, But Not Enough Setup (Review)
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)
Unpregnant: Female-Led Road Trip Comedy is Touching, Timely, and Terrific
(Review)
The Book of Vision: Sincere but Reductive (Venice Film Festival Review)
Get the Hell Out: A Riotous, Albeit Unfocused Zombie Comedy (TIFF 2020 Review)
Sons of Denmark: A Provocative Political Thriller and an Urgent Warning (Review)
A City Called Dragon: A Solid, Crowd-Pleasing Wuxia Thriller
(Taiwan Film Festival Edinburgh)
Mainstream: “No-One-Special” To Fill Up Your Life (Review)
Buoyancy: A Thrilling Drama on Thailand’s Human Trafficking Industry (Review)
Ice Poison: A Desperate Life on the Edge of Poverty (Taiwan Film Festival Edinburgh)
Rent-A-Pal: A Bizarre Look Into Loneliness (Review)
Nocturnal: A profound Portrait of Fragility (Review)
Pacific Rim: Proving There is a Place for Kaiju Films in Western Cinema
Bacurau: a gripping Western Parody with All the Good and Bad Elements of Brazil’s Society
I’m Thinking of Ending Things: Charlie Kaufman’s Latest Is Cryptic Yet Captivating
(Review)
Mulan (2020): Honorable Adaptation Misses the Mark (Review)
Get Duked!: Scotland’s Version of “The Hunt” Brings the Laughs (Review)
A Kid Like Jake: Tepid Family Drama Lacks Direction (Review)
Waiting for the Barbarians: Mark Rylance Excels in Poignant Drama (Review)
The Exigency: Cinematic Passion Shines Through Inferior Animation (Review)
The New Mutants: Not worth the Wait After Three Years of Development Hell
(Review)
Bill & Ted Face the Music: Another ‘Most Triumphant’ Trek Through Time
(Review)
The Binge: Yet Another Teen Movie (Review)
Tenet: Christopher Nolan’s Time-Bending Thriller is Magnificent (Review)
Away: A Compelling Animated Survival Story (Review)
System Crasher: Lightly Denting the System (Review)
Epicentro: A Dense Documentary With a Lot to Say (Review)
Hidden Away (Volevo Nascondermi): How to Call Ourselves Living Things (Review)
The Sleepover: Spy Kids 2020 is a Blasé Disappointment (Review)
Chemical Hearts: Teen Melodrama Connects Thanks to Great Leads (Review)
Unhinged: Russell Crowe’s Raucous Road Rage Thriller Terrifies (Review)
The One and Only Ivan Struggles to Walk the Tightrope of Drama and Wonder
(Review)
Words on Bathroom Walls: Love, Schizophrenia & Teenage Wisdom (Review)
Ava: Intimate Family Drama Lacks Dynamism but Tackles Worthy Subjects
(Review)
Random Acts of Violence: Ambitious but Flawed Horror Is Catnip for Gorehounds
(Review)
Tesla: An Unconventional Biopic With Little Spark (Review)
Jallikattu: Visceral Thriller Explores the Brutality of Man (Review)
Boys State: The Case For and Against the Future of American Politics (Review)
Project Power: Bland Superhero Drama Fails to Thrill (Review)
The Great Gatsby: An Iconic Narrative in Baz Luhrmann’s Signature Style (Review)
The Tax Collector: LaBeouf is Great, the Film is Not (Review)
An American Pickle: Effective Dramedy Showcases Rogen’s Talents (Review)
The Secret Garden: Gunfire and Birdsong (Review)
37 Seconds: A Heartwarming Journey of Self-Discovery (Review)
You’ve Been Trumped Too: A Brave Investigation On Politics, Power and Greed (Review)
Sunrise: A Song of Two Humans (1927) – Hollywood’s Shining Moment in A Forgotten Era
(Review)
Howard: Honoring the Legacy of Disney’s Legendary Lyricist (Review)
Perfect 10: A Breezy, Middle-Class Twist on the Teen Crime Drama (Review)
Yes, God, Yes: Short Film Narrative In Feature-Length Time (Review)
I Used to Go Here: Life at its Most Authentic (Review)
She Dies Tomorrow: A Compelling Pandemic of Existential Dread (Review)
The Way Back: Ben Affleck’s Career Best Performance (Review)
Peripheral: Psychedelic Paranoia meets Tech Body Horror (Review)
Miss Americana: Taylor Swift Sheds Her Secrecy and Shares Her Story (Review)
The Hater: Overbreadth and Inconsistent Tone Sink a Good Premise (Review)
Cold War: An Epic Romance on a Small Scale (Review)
Red Penguins: How American Capitalism Tried to Infiltrate Russian Hockey (Review)
Circus of Books: An Endearing Family Saga and a Feat of Cultural Nostalgia (Review)
“Once Upon a Time in Hollywood”: One Year Later
The Rifleman: Previously Banned WWI True Story Successfully Captures the Intensity of War
(Review)
The Kissing Booth 2: A Surprisingly Improved Sequel (Review)
Radioactive: Poor Writing Stops the Film from Glowing (Review)
Mulan: A Flawless Feminist Fable That Stands the Test of Time
(Review)
Miss Juneteenth: “Looks Ain’t Enough to Survive” (Review)
The Spook Who Sat by the Door: Revolution in Action (Review)
The Outpost: an Excellent War Film Elevated by Smart Direction (Review)
First Cow: A Minimalist Frontier (Review)
The Boat People: A Filipino Post-Apocalyptic Fantasy (Review)
Fatal Affair: Netflix’s Lifetime Movie is a Bumbling Mess of Bad Writing (Review)
Inception: Nolan’s Engrossing and Enigmatic Epic Endures
(Review)
Rebuilding Paradise: Ron Howard’s Crisp Next Step as a Documentarian (Review)
The Goldfinch: An Adaptation that Failed to Take Flight (Review)
An Elephant Sitting Still: A Masterclass in Despair (Review)
The Painted Bird: Torture Porn for Intellectuals (Review)
“Arthur & Merlin: Knights of Camelot”: A Return to the Myth’s Origins (with some hesitation)
House of Hummingbird: Poetry in Motion (Review)
Love Sarah: No Sarah, but Plenty of Love (Review)
The Old Guard: Humanity Elevates Comic Book Action (Review)
Palm Springs: The Terrific “Time Loop” Comedy for the Troubles of Today (Review)
Greyhound: Lean WWII Thriller Excites with a Detail Oriented Approach (Review)
Ghostbusters: A Blockbuster Blend of Horror and Hilarity
Masters of Love: A Refreshing Take on Recognizable Rom-Com Tropes (Review)
Guest of Honour: An Entertaining yet Messy Exploration of Family (Review)
Relic: Australian Indie Horror Disguised as a Family Drama (Review)
Disappearance at Clifton Hill: A Mesmerizing, Mind-Bending Mystery (Review)
Hanagatami: Nobuhiko Obayashi’s Cinematic Testament Mesmerizes Audiences
(Review)
Little Girl: This Film Should Not Have Been Made (Review)
Inheritance: A Privileged Life Tainted by a Shocking Secret (Review)
Hamilton: the Most Magical Thing on Disney+ (Review)
Desperados: Lazy Netflix Comedy Fails to Entertain (Review)
Minions: From Silly, Simple-Minded Sidekicks to Spin-Off Sensations
Saint Frances: “You Can Have Faith in People Too” (Review)
Mighty Oak: One Rocker Goes, Here Comes Another (Review)
A White, White Day: How Ghosts Still Echo (Review)
Family Romance LLC: A Tantalizing yet Flawed Exploration of the Everyday
(Review)
Roger Waters: Us + Them: Psychedelic Rock Fans Rejoice! (Review)
Skyman: ‘Close Encounters’ for Found Footage Fans (Review)
Last and First Men: A Chilly Facade and an Intriguing History (Review)
Irresistible: Jon Stewart’s Scathing, Sharp-Witted Satire Soars (Review)
Eurovision Song Contest: The Story of Fire Saga: A Surprisingly Kind, Good-Hearted Comedy
(Review)
Dreambuilders: A Magical Adventure in the Hidden World Behind our Dreams
(Review)
My Spy: Dave Bautista Shines in a Messy Family Comedy (Review)
Top Gun (1986): Pure Pop Culture Phenomenon or Pro-War Propaganda?
(Review)
Mr Jones: a Messy, Well-Acted Journalistic Thriller (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)
7500: “Phone Booth” on a Plane is Tense and Fun (Review)
Dads: Howard’s Cute Doc Led Me to Mull My Own Role as a Dad
The Girl with a Bracelet: Smart French Legal Drama Focuses on the Details (Review)
You Should Have Left: Keep Away From This Kevin Bacon Thriller (Review)
Wasp Network: the Cover is Blown on this Tepid Spy Tale (Review)
Little Joe: A Cold and Lifeless Bio-Thriller (Review)
Jaws: Hollywood’s Greatest Shark Movie (Review)
Bull: Rob Morgan’s Excellent Performance Makes Bull Riding Drama Come Alive
(Review)
The Ground Beneath My Feet: Witnessing the Woes of the Modern-Day Working Woman
Babyteeth: A Devastatingly Honest, Surprisingly Fun Coming-of-Age Cancer Drama
(Review)
Becky: A Breezy but Bloody Brawl with a Brutal Bag of Tricks (Review)
Da 5 Bloods: Spike Lee Entertains and Educates in a Harrowing History Lesson
(Review)
Artemis Fowl: Dismal Disney+ Drop Disappoints (Review)
The King of Staten Island: Apatow returns to his comedy throne (Review)
Candyman: Chronicling the 1992 Horror Classic’s Continuing Cultural Significance
(Review)
Michael: The Model and “the Painter of Pains” (Review)
You Don’t Nomi: The Resounding Legacy of a Cult Masterpiece (Review)
Here’s Why Hereditary is already on its way to classic horror status (Review)
On The Record: A Brave Illustration of the Black Woman’s Burden (Review)
Mädchen in Uniform: A Film You’ve Seen, Even if You Haven’t (Review)
Calm With Horses: Sentimental Education, Irish-Style (Review)
A City Called Macau: a propagandistic narrative wastes a great story setting
(Review)
The Last Days of American Crime: a Timely Premise Wasted by Poor Filmmaking
(Review)
Wonder Woman: Revisiting DC’s 2017 Revolutionary Runaway Success
Shirley: Unconventional Gothic Biopic is neither Human nor Horror Enough to Fully Succeed
(Review)
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 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: “a Movie for Absolutely Right Now” (Review)
Halloween 2018: ten more films to watch this year
The Kindergarten Teacher is a Clever Analysis of Human Behaviour (Review)
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
Scroll To Top
Films
TV
Reviews
Film Festivals
Interviews
Focus On
Virtual Reality
Awards & Events
News
Win
About
Facebook
Twitter
Instagram
