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The Gentlemen is Guy Ritchie at his best (Review)
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I Lost My Body is a celebration of memory and self-discovery (Review)
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Top 50: The Most Anticipated Films of 2020
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Knives Out: Johnson’s whodunnit captivates, entertains and subverts expectations (Review)
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Portrait of a Lady on Fire: a superbly complex lesson in love (Review)
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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 delightfully 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)
‘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)
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)
The White Crow: Fiennes’ Nureyev inspires and captivates at London Film Festival (Review)
Assassination Nation: Review (London Film Festival)
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)
Three Billboards Outside Ebbing, Missouri is the film you absolutely need to watch (Review)
‘It’ Review: all stereotype and no scare
P!nk’s Beautiful Trauma is out, and we are “certifiably, insanely proud” of her
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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