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Holidate: Raunchy Romcom is Simultaneously Snarky and Sweet (Review)
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Borat: Subsequent Moviefilm – Brilliant Satire Returns at the Right Time
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Over the Moon: Netflix’s Moving and Multicolored Musical is Magnificent
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The Trial of the Chicago 7: Inspiring Political Mythology (Review)
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Films
TV
Reviews
Film Festivals
Interviews
Focus On
Virtual Reality
Awards & Events
News
Win
About
Wendy: As Beautiful a Mess Can Be (Review)
Halloween 2020: 10+ Films to Watch This Year
The Mandalorian: This Is the Way (to make Star Wars)
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)
Thaddeus’ Guide to Horror (For Beginners)
Hall: Timely Horror/Thriller is Beautifully Horrifying (Review)
Monsoon: A Smart Allegory for Vietnam’s Relationship with the West
(NewFest Review)
All Halloween Films Ranked (From Worst to Best)
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)
Ratched: Terrific Psychological Drama Hits a Nerve (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)
(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 Best Debuts by Actors-Turned-Directors
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)
(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)
Oscar Wilde ’s Top Three Favourite Films, as Envisioned By Us
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)
Small Axe: Steve McQueen’s Remarkable Achievement (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)
Virtual Film Festivals: A Conversation
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)
September 2020: The Best Films of the Month
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 Hobbit & Lord of the Rings Trilogies, Ranked
2020 Emmy Awards: The Full List of Winners
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)
The Hot Zone: A Contagiously Gripping Science Thriller (Review)
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)
August 2020: The Best Films of the Month
The Exigency: Cinematic Passion Shines Through Inferior Animation (Review)
The New Mutants: Not worth the Wait After Three Years of Development Hell
(Review)
Chadwick Boseman: A Conversation
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)
Actor-turned-director Francesco Giannini on Pandemic Feature “Hall” (Interview)
Away: A Compelling Animated Survival Story (Review)
System Crasher: Lightly Denting the System (Review)
Epicentro: A Dense Documentary With a Lot to Say (Review)
Ruben Pla on The Horror Crowd: An Invitation into the Macabre Community (Interview)
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)
TIFF 2020: 20 Films to Watch at the Toronto International Film Festival
Tesla: An Unconventional Biopic With Little Spark (Review)
Jallikattu: Visceral Thriller Explores the Brutality of Man (Review)
The Morning Show: A Tremendous Take on Today’s #MeToo Movement (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)
Every Episode of The Legend of Korra Ranked from Worst to Best
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)
Bill & Ted: An Excellent and Ageless Adventure
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)
The Best Films of 2020 (So Far)
Perfect 10: A Breezy, Middle-Class Twist on the Teen Crime Drama (Review)
5 Iconic Things We’ll Never Forget About The Good Place
Yes, God, Yes: Short Film Narrative In Feature-Length Time (Review)
The Eclectic and the Sublime: In Celebration of Ennio Morricone
Keisuke Kinoshita ’s 5 Best Films
Margot Robbie ’s Top 10 Best Performances
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)
All Alien Films Ranked (From Worst to Best)
The Hater: Overbreadth and Inconsistent Tone Sink a Good Premise (Review)
Our Favourite Christopher Nolan Films
Cold War: An Epic Romance on a Small Scale (Review)
Red Penguins: How American Capitalism Tried to Infiltrate Russian Hockey (Review)
Unbelievable: Seriously uncomfortable, and rightly so (Review)
July 2020: The Best Films of the Month
Circus of Books: An Endearing Family Saga and a Feat of Cultural Nostalgia (Review)
“Once Upon a Time in Hollywood”: One Year Later
“Bill & Ted Face the Music” Crashes Comic Con @ Home
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)
Comic-Con@Home: All The New Movie & TV Trailers (SDCC 2020)
Seven reasons to love The Umbrella Academy
Our Favourite Joel Schumacher Films
Miss Juneteenth: “Looks Ain’t Enough to Survive” (Review)
2021 Oscar Contenders Post-COVID: Oscars Preview Part III
Euphoria: A Deep Dive into the Darkness of American Adolescence (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)
10 Deliciously Bad Films Worth Your Interest
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)
2021 Oscars: Contenders at the Halfway Point (Oscar Preview Part II)
The Painted Bird: Torture Porn for Intellectuals (Review)
The End Of The F***ing World ‘s Season 2: Rebellious Teenagers Facing Adult Problems
(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
Don’t F**K With Cats: There’s No Such Thing as a Fair Trial Online (Review)
Masters of Love: A Refreshing Take on Recognizable Rom-Com Tropes (Review)
Guest of Honour: An Entertaining yet Messy Exploration of Family (Review)
Succession: The Kardashians Meet Shakespeare (Review)
Oscars Preview Part I: The Academy’s New Landscape
Albert Shin on “Disappearance at Clifton Hill”: A Love Letter to Niagara Falls (Interview)
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)
Queen Sono: Netflix’s first South African Series Captivates with Authenticity
(Review)
Desperados: Lazy Netflix Comedy Fails to Entertain (Review)
Minions: From Silly, Simple-Minded Sidekicks to Spin-Off Sensations
Treasure in Trash: The Value of Bad Films
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)
What We Do in The Shadows: a Sitcom that Just so Happens to be about Vampires (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)
5 Films That Challenge Racism
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)
The 5 Worst Book Adaptations in Film History
Dark: What Sets Netflix’s TV Series Apart (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
Our Favourite Father Figures in Film and TV
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)
How Pixar’s Pete Docter Analyzes the Anxieties of Aging Through Art
(Profile)
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)
Film Distribution after COVID: Theaters in Limbo and Digital Film Festivals
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)
Gone With The Wind vs HBO: When the Artwork Becomes the Perfect Scapegoat
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)
All Friday the 13th Movies Ranked (From Worst to Best)
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)
Hollywood: A Netflix Fairytale, but Let’s Make It Real (Review)
How The King of Staten Island’s Judd Apatow Forever Changed 21st Century Comedies
(Profile)
Calm With Horses: Sentimental Education, Irish-Style (Review)
Film Trends after COVID: End Times, Escapism, and Character Dramas
A City Called Macau: a propagandistic narrative wastes a great story setting
(Review)
We Are Ten Shorts You Should Watch (We Are One Film Festival)
After Life: a Masterful Illustration of Grief and Humanity (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)
RuPaul’s Drag Race’s Season 12: they are not just women; They are Drag Queens
(Review)
The True History of the Kelly Gang: postmodern fireworks for Kurzel’s meat pie Western
(Review)
Crazy World: Expect the Unexpectable (Review)
Killing Eve: 10 Reasons to Fall in Love with the Best Dramedy Show Out There
Crow: The Legend (VR) is a Shot of Pure Happiness
(Review)
Filmmaking after COVID: Micro-budgets, Skeleton Crews, and Remote Directing
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)
6 reasons why Netflix’s Stranger Things is the perfect self-isolation binge watch
We Are One Film Festival: We Have a Programme!
Netflix’s Space Force is a Satire of Itself (Review)
The Final Wish: An exercise in the domestic paranormal (Review)
Snowpiercer: a post-apocalyptic journey into night (Review)
The Curious Case of John Malkovich’s Filmography
The Lovebirds: Nanjiani and Rae’s spark makes for a worthwhile watch (Review)
The History of the Seattle Mariners: A fan documentary for non-fans
(Review)
Capone takes neurosyphillis to the extreme as Tom Hardy indulges his worst impulses
(Review)
Proximity: Independent Sci-Fi With High Budget Aspirations (Review)
The Best Guest Stars in The Good Wife, Ranked
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)
Still striking: The Empire Strikes Back at 40
Half-Life VR but the AI is Self-Aware: absurd sketches with surprising nuance
(Review)
1917 and the “Cinema of the Moment”
Keep Your Hands off Eizouken!: An absurd, optimistic tribute to creativity
(Review)
Seven Films for Seven Days: Your Week in Movies (11-17 May)
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)
All Star Wars Movies Ranked (From Worst to Best)
Misbehaviour: A story with Many Sides and an Invitation to Kindness
(Review)
Possessor: A smart, twisted take on the sci-fi horror hybrid (Review)
Normal People: a Wonderfully Nuanced Portrait of Love (Review)
The Assistant: Julia Garner carries one of the year’s best films (Review)
Mrs America: Stories of a Feminist E.R.A. (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)
Little Fires Everywhere: Heroes, Villains and Everything in Between
(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)
A Film a Day: Your Week in Movies (20-27 Apr)
Never Rarely Sometimes Always: a genre-defying movie on the difficulties of adulthood
(Review)
Sam Rockwell in Movies: 5 Great Films Starring the Jojo Rabbit Actor
Emma: Taylor-Joy charms in newest adaption of Austen’s witty romance
(Review)
10 Great Pixar Shorts to Watch on Disney+
Loud and Clear’s Movie Quarantine Challenge: How Many Have You Watched?
And so, this is BoJack – Horseman, obviously
Lady and the Tramp: a Heartfelt Dose of Nostalgia (Review)
5 Binge-Worthy TV Shows for your Self-Isolation Rewatches
A Decade in Movies: 10 Great Films of the 2010s
5 Feel-Good Movies to Take Your Mind Off Coronavirus
5 Film-Related Things to Do to Beat the Covid-19 Quarantine Blues
Three Films You’ll Thrive With If You Loved The New Pope
Simon Pegg and Katharine O’Brien on “Lost Transmissions”
(Glasgow Film Festival)
Patrick Waldrop on “I Want My MTV”: the Glasgow Film Festival Interview
Bombay Rose: a piquant tale of love, magic, and imagination (Review)
Onward: Pixar’s Magic is “Not So Easy To Master” (Review)
Scott Graham on Springsteen-inspired Scottish drama “Run” (Glasgow Film Festival Interview)
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)
Five Great Films That Revolve Around Music
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)
Sex Education’s Season 2 is even better than the first (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)
Oscars 2020: Download Our Printable Ballot Sheet!
The Gentlemen is Guy Ritchie at his best (Review)
5 The New Pope objects that rightly deserve to be turned into fetish
Staten Cousins Roe and Poppy Roe on A Serial Killer’s Guide to Life (Interview)
Rocketman: Egerton smashes the crowd and keeps the film alive (Review)
5 Acceptable Things About Tom Hooper’s “Cats” (Review)
After death: The Beyond as Seen On TV
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)
Top 50: The Most Anticipated Films of 2020
Hustlers is a dangerous shot of uncompromisingly feel-good fun (Review)
The Best Films of 2019 (According to Us)
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)
Christmas 2019: 5 Films to Watch This Year
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)
A Beginner’s Guide to Twin Peaks
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)
Halloween 2019: 6 Films to Watch This Year
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)
A Worthy Man: Kristian Håskjold’s impressive short film tackles depression and loneliness (Interview)
Martin Eden: the well-trimmed tale of an outdated Everyman (Review)
Marriage Story: The Red Carpet Interview (London Film Festival)
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)
Le Cri: Edvard Munch’s The Scream comes alive in Virtual Reality (Interview)
Three (and a half) Reasons Why You Should Love Jim Jarmusch
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)
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
Once Upon a Time in… Hollywood: Tarantino Loves Cinema! (Review)
Trespassers star Zach Avery on his upcoming releases, acting choices and more
(Interview)
The Dead Don’t Die is that film you grow to love and you don’t know why (Review)
Comic Con 2019: all the best new trailers
for upcoming movies and shows
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 her infectiously enjoyable rom-com
(Edinburgh Film Festival Interview)
Ode To Joy: Martin Freeman shines in heartwarming rom-com
(Review)
Schemers: interview with Dave McLean and Conor Berry (Edinburgh Film Festival)
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)
“You can only understand life by looking back at where you’ve come from”: Oliver Murray on Bill Wyman documentary The Quiet One
Female TV characters in their thirties: delightfully uncensored screen diaries
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)
‘Bodyguard’ on Netflix is storytelling at its best (Review)
Avengers: Endgame is the emotional family reunion we needed (Review)
Charlie Says: Matt Smith is Charles Manson in powerful psychological drama (Review)
Leah Gallo: The Art of Being a Still Photographer (for Tim Burton) – Interview
Virtual Reality: our favourite experiences at Sundance and Venice
The Bill Murray Stories: Bill Murray teaches us how to live (Review)
After the Wedding: Williams and Moore excel in exquisitely moving drama (Review)
Oscars 2019 Predictions: and the winners will be…
Blinded by the Light is the Springsteen feel-good drama we needed (Review)
The Dress Up Gang: Interview with the comedy trio who turned hilarious hit web series into a show
(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 25 Best Films of 2018
Golden Globes 2019: Download Our Printable Sheet and guess your winners!
First look: Alan Moore’s The Show
Marvelʼs Avengers S.T.A.T.I.O.N.: a look into the Avengers’ lives, actions (and closets) and the world of Marvel
The White Crow: Fiennes’ Nureyev inspires and captivates at London Film Festival (Review)
“Making the film is absolutely secondary to experiencing it”: Roberto Minervini on What You Gonna Do When The World’s On Fire?
(Interview)
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)
BFI London Film Festival 2018: 30 films you need to see
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
Virtual Reality in Competition at 75th Venice Film Festival: full Line-up and guide
Green Book: trailer and poster released for new drama starring Viggo Mortensen
“Anna and the Apocalypse” and the rise of the genre mashup
75th Venice Film Festival, “In Competition”: full Line-Up and most anticipated premieres
Bradley Cooper’s A Star is Born starring Lady Gaga will premiere at the 75th Venice Film Festival
Comic-Con 2018: all the new film and TV trailers
Aquaman: trailer sneak peeks, photos and everything we know so far
Damien Chazelle’s First Man will open the 75th Venice Film Festival
Boots Riley’s Sorry to Bother You is in cinemas everywhere
75th Venice Film Festival: Restored Films Line-Up announced
Steel Country: Andrew Scott is exceptional in clever crime drama (Review)
Best of Edinburgh Film Fest: Unicorn Store (Review)
Golden Globes 2018: Download Our Printable Sheet and guess your winners!
Wreck-It Ralph 2 is Disney’s self-celebration at its best
Andy Warhol’s Interview Magazine shuts down after 50 years
5 TV shows that tackled mental health (and got it right)
Oscars 2018: The Complete List of Academy Award Winners
Sir Ian McKellen returns to London’s West End as King Lear
Our 15 favourite movies of 2017
Three Billboards Outside Ebbing, Missouri is the Film you Absolutely Need to Watch
(Review)
Star Wars: The Last Jedi Strikes Back with a new trailer
The 5 films you should watch this Halloween
‘It’ Review: all stereotype and no scare
Venice Virtual Reality: the new shape of cinema at the 74° International Film Festival
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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