March 19, 2024

25.8.23 A reminder that injustices should never be forgotten, Till retrospects a dark day in American history with painful honesty, in an attempt to provoke blood-boiling fury. Most memorably, it features an impressively stoic and emphatic performance from Danielle Deadwyler as Mamie Till, the mother of the desperately tragic Emmett Till. Snubbed at the Oscars […]

27.12.23 Theatre Camp is a comedy that celebrates the passion and talent of drama enthusiasts and performers, both familiar actors and an impressively energetic young cast. Reminiscent of Christopher Guest mockumentaries like Best in Show and Waiting for Guffman, it follows a summer theatre camp and all the drama, shenanigans, and humiliating moments that come

28.9.23 A chocolate box highlight reel of Wes Anderson’s most famed works, The Wonderful Story of Henry Sugar is a brisk 40-minute tale told in his signature style. Though compact, its imaginative premise satisfies as a bitesize adventure, although I do admit to daydreaming during the film that it would be better as a West

11.3.23 The Whale isn’t as controversial as the noise surrounding it suggests. It boils down to being an effective but stagey family drama, with Brendan Fraser’s powerhouse performance taking centre stage. Despite there being more to admire in the film than simply Fraser’s portrayal of an obese and reclusive English teacher, such as the performances

26.2.23 I fucking loved The Father, mainly due to Anthony Hopkins’ phenomenal performance, as well as the sublime manipulation of the film’s interior set, which left me second-guessing reality for most of the duration. In comparison, The Son is an enjoyable follow-up (or quasi-prequel), and although it lacks any comparably exciting plot devices, it has

18.2.24 I can proudly say that Ken Loach was one of those directors alongside David Fincher, Terence Davies and Stanley Kubrick that turned me from a casual moviegoer to a rabid cinema lover. His best works strike the perfect balance between capturing the character and humour of English culture against a usual gritty background, saturated

11.11.23 Immaculate precision beset by an almighty cockup. The Killer has all the hallmarks of David Fincher’s technical, ice-cold approach. Full of memorable high points and great monologues from Michael Fassbender, the relatively simple narrative reflects a curious, morally ambiguous worldview. The backdrop of melancholic songs from The Smiths also lends the right amount of

26.12.23 The Flash isn’t an awful film, but it feels awfully pointless. It’s clearly been made by a group of people who know that DC’s extended universe is breathing its final gasps of air, so it brazenly throws in an embarrassing number of stars in minor roles for one last chorus before the new Aquaman

5.9.23 Satisfying and reliably entertaining, although a bit undercooked, The Equalizer 3 delivers exactly what you would expect from the third film in the franchise. It’s fair to say that the series has always been carried by ‘The Man’ Denzel’s commanding presence, and now nearing 70, Washington’s Robert McCall is older and more vulnerable but

21.10.23 Brooding and unpredictable, The Beasts is an impressive psychological thriller that generates palpable tension and unease. Director Rodrigo Sorogoyen throws us headfirst into rural Spain, where the unchecked nature of human violence and hostility towards outsiders takes charge. Simmering beneath the surface tension lies thoughtful explorations of nationalism, xenophobia, and class divides. For lifelong