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The Longest Ride – Review

Take one pint-sized actress and mix in hunky male (piercing blue eyes optional). Add geographic distance/serious illness/drastically opposed lifestyles, or all three. Scatter clichés generously. Take care not...
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Moomins On The Riviera – Review

Characterised by outlandish comedy and a zany colour palette, Moomins on the Riviera is a lovingly hand-drawn tribute to Tove Jansson’s creations. As with early morning children’s television, an exuberant...
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The New Girlfriend – Review

New Girlfriend is technically striking, often conveying narrative visually in brave compositions, and Pascal Marti’s cinematography is as fluid as the characters’ identities. Ozon’s latest is riddled...
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The Age of Adaline – Review

With an omniscient voiceover, supernatural premise and bland romance, The Age of Adaline could be a mash-up of Pushing Daisies and a Nicholas Sparks novel. After a whistle-stop tour of 20th century US...
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Far from the Madding Crowd – Review

Vinterberg’s adaptation easily ticks the required boxes of a successful period drama. The sets are ready to be stepped onto, and there’s artistry and homeliness to the costuming. Moreover, Vinterberg...
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Lost River – Review

Virtually plotless, Lost River is a lurid technicolour nightmare featuring a senseless mishmash of shot types, a warped Miss Havisham and a caricaturish Matt Smith. There’s no subtlety here; the sparse...
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While We’re Young – Review

While We’re Young is a natural progression from Baumbach’s Frances Ha, yet it breaks new ground by using older protagonists to provide a fresh perspective on twentysomething New Yorkers. Meanwhile, it...
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Still Alice – Review

Still Alice is increasingly immersive, with dynamic camerawork and layered soundscapes replicating Alice’s perceptions for the audience, and conveying her alarmingly rapid decline. In comparison,...