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The Big Sick – Review

Ranging from gently witty to laugh-out-loud funny, The Big Sick is a vibrant comedy-drama which always engages despite broadly conventional structure and lack of stylisation. What it lacks in style, it makes...
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Cars 3 – Review

Although it’s hardly the most eagerly anticipated Pixar film of recent years, Cars 3 is great fun. While elements of the plot are nonsensical or just not adequately thought through, both the screenplay and...
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The Midwife – Review

French legends Catherine Deneuve and Catherine Frot go tête à tête in The Midwife. Despite the rather twee sun-dappled publicity images, Martin Provost’s film plays like a less grim and more substantial...
1th

Tommy’s Honour – Review

Tommy’s Honour makes for an enjoyable slice of social history and provides enough interest from community and familial drama to eclipse the attentions of the niche audience segment who care about the history...
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The Last Word – Review

The Last Word is a rare and unusual treat which ignores the obsessive boundaries of Hollywood genre filmmaking, and is all the richer for it. It takes a while to find its groove, however; the opening,...
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Romans – EIFF 2017 Review

Romans tells a mostly gripping and urgent story, but the film’s underwhelming and sometimes misjudged decisions keep it from rising above superior fare that tackles similar issues, namely Spotlight and...
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A Man Called Ove – Review

On first introduction, Ove (Rolf Lassgård) is a grumbling, busybody stickler whose pedantic neighbourhood rule enforcement and chastisement is likely to be interpreted as over-the-top. The dry comedy of the...
1ls

London Symphony – EIFF 2017 Review

This virtuoso display of editing weaves together a staggering volume of footage of contemporary London, addressing a wide spread of themes and geography with knife-sharp monochrome cinematography. Though...
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Satan Said Dance – EIFF 2017 Review

Like Xavier Dolan’s Mommy, Satan Said Dance is shot in 1:1 aspect ratio, amplifying the sense that the main character finds her life entrapping. Though Katarzyna Roslaniec’s film has flashy style and...