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Heartstone – BFI Flare 2017 Review

Where you might expect familiarity, Heartstone continually complicates and deepens its innocence lost narrative to tell a tale both fresh and universal. Expressive kinetic camerawork conveys boyish energy,...
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Pushing Dead – BFI Flare 2017 Review

While Pushing Dead lacks a consistently engaging narrative, writer-director Tom E. Brown has created a bravely idiosyncratic tone and style that nevertheless demands attention. The most overt component of this...
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Free CeCe! – BFI Flare 2017 Review

Free CeCe! promises to be another excoriating exposé of the injustices of the American legal and prison systems, tackling an uninterrogated part of the story tracked in Ava DuVernay’s 13th by specifically...
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Heartland – BFI Flare Review 2017

For a film named Heartland, Maureen Anderson’s debut can be pretty critical of the American Midwest. Beth Grant is saddled with the thankless negative stereotype of a traditionalist, homophobic mother, and...
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After Louie – BFI Flare 2017 Review

Where countless films have collapsed inheritance between second-wave feminists and subsequent generations of women into platonic or familial intergenerational conflict, After Louie revitalises the motif in the...
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Get Out – Review

Jordan Peele’s Get Out has quite accurately been described as a horror movie where the villain is racism. In this accomplished first feature, Peele intelligently intertwines historical contexts of racially...
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Certain Women – 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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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...