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Denial – Review

Denial is bold in crafting a fictionalised Deborah Lipstadt who isn’t always easy to like; Weisz is fierce and prickly and at times almost unrecognisable. It’s a far cry from the tedious tear-jerking of...
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The White King – Review

Though The White King’s striking animated opening credits and boy hero Djata (Allchurch) suggest it’s an adventure aimed at children, the film as a whole is utterly confused about who its audience is....
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Christine – Review

It’s a surprise with this subject matter, but Antonio Campos’ Christine is deliciously witty. The Florida TV station where Christine works is expertly decked out in period ephemera showed off with dynamic...
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Passengers – Review

Passengers opens with a genuinely cinematic sequence, free of dialogue and even human characters. We’re introduced to the Avalon – a hyper-futuristic spaceship which nevertheless still echoes 2001 with its...
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The Pass – LFF 2016 Review

The Pass is a dramatic tour de force. Its simple conceit – a triptych of pairs of people talking in hotel rooms at five-year intervals – is masterfully executed thanks to clever ellipsis, cast chemistry,...
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United States of Love – Review

United States of Love is a deeply uncomfortable and troubling film. Arguably it’s deliberately designed to be so through apt framing that emphasises the voyeuristic nature of cinema; female characters are...
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100 Streets – Review

100 Streets seems to aim for Crash in London, but lands in overwrought soapy territory, with respected big-name actors such as Idris Elba, Gemma Arterton and Ken Stott surrounded by unexpectedly low production...
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Girls Lost – Review

Girls Lost melds elements of genres including thriller and coming-of-age tale to create an elegant magic realist consideration of gender and sexuality, and how they interact with long-term...
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Certain Women – LFF 2016 Review

If Alice Munro made films, you’d pray they’d look like this. Kelly Reichardt’s adaptation of short stories by Montana native Maile Meloy has a staggeringly subtle touch, and is an experience more...
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Una – LFF 2016 Review

The best aspect of Una is its scrambled chronology. Flashbacks break up what could otherwise be a rather repetitive two-hander, albeit one made up of fine performances from both Rooney Mara and Ben Mendelsohn....
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Porto – LFF 2016 Review

Porto opens with the unmistakable sound of Anton Yelchin’s gravelly voice in monologue. In light of the actor’s recent death this has an amplified power and is instantly attention-grabbing and emotive....
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Yarn – Review

A circus artist from one of the documentary’s strands explains how his show, Knitting Peace, throws out images and emotions and lets audiences draw their own conclusions. Unfortunately, this is much too true...