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Ema – Review

This film was previously reviewed in October 2019 for our London Film Festival coverage. No two Pablo Larraín films are quite the same but, even so, Ema marks a departure. An opaque story told mainly...
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Moffie – Review

This film was previously reviewed in October 2019 as part of our London Film Festival coverage. It isn’t easy to imagine oneself feeling much sympathy for the characters of a film about the Apartheid-era...
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Color Out of Space – Review

With his focus on the terror of the indescribable, H.P. Lovecraft has always proved hard to adapt. Whether it’s the Garth Marenghi-esque ‘70s version of The Dunwich Horror or Guillermo Del Toro being...
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Greed – Review

Originally reviewed as part of our London Film Festival coverage in October 2019. With a rollout soured by director Michael Winterbottom being pressured by Sony to make its end credits less political, Greed...
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Birds of Prey – Review

With dull, failed reboots like Men in Black and Hellboy, and heinous franchise finales like Rise of Skywalker and Dark Phoenix, 2019 was a bad year for blockbusters. Thankfully, 2020 seems to be here to set it...
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The Lighthouse – Review

At its best, cinema can approach being indescribable. ‘F.W. Murnau directs an episode of It’s Always Sunny in Philadelphia’ doesn’t make any kind of coherent sense on paper, nor is it something you can...
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The Irishman – LFF 2019 Review

Though Martin Scorsese’s mooted upcoming films sound exciting, it’s hard to believe that they’re ever coming out at all. The Irishman has such an air of emphatic finality about it, and serves as such a...
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Ordinary Love – LFF 2019 Review

Few films commit to their titles like Ordinary Love. This is a movie of calm, contemplative realism that never falsely raises its stakes as it studies the effect of a cancer diagnosis on a retired couple in...
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Rocks – LFF 2019 Review

If you’re going to make a movie about modern youth, you have to consult with modern youth. Too many films in this genre feel embarrassingly dated the instant they come out, and it’s to Sarah Gavron,...
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Uncut Gems – Review

Originally published as part of our London Film Festival coverage in October 2019 As much as American cinema is based in LA, it’s New York that has always been the country’s most iconic on-screen...
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The Painted Bird – LFF 2019 Review

A film like The Painted Bird does not want to be ‘liked’. It wants to shock, to disgust, to viscerally move, to make you reconsider just how civilised mankind really is. Seeking such reactions is a gamble...
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The Laundromat – Review

If, at the start of the year, you were asked which Steven Soderbergh project sounded more exciting between ‘the one shot entirely on an iPhone’ and ‘the one starring Meryl Streep’, then it would have...
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The Two Popes – LFF 2019 Review

Anthony McCarten has, in recent years, made his name as one of the premier screenwriters of mass appeal but mediocre historical films like Darkest Hour and Bohemian Rhapsody. His latest, The Two Popes, teams...