The Sisters Brothers – Venice 2018 Review Jack Blackwell September 3, 2018 Reviews With a title like The Sisters Brothers, so called for its colourfully named leads, and supporting characters with monikers like Hermann Kermit Warm, Jacques Audiard’s western looks at first glance like a...
Ni De Lian (Your Face) – Venice 2018 Review L D September 3, 2018 Reviews Beginning early with the instant classics such as Rebels of the Neon God (1992) and Vive L’Amour (1994), Tsai Ming-liang has hardly made a career easy for himself. Internationally recognised as one of the...
Cold War is a Romantic Epic and an Ode to Hope Rachel Brook September 3, 2018 Reviews Pawel Pawlikowski’s Cold War is a far cry from the muggy atmosphere of his 2004 English-language feature My Summer of Love. As the title suggests, Cold War’s romance takes place in and is defined by...
Frères Ennemis (Close Enemies) – Venice 2018 Review Jack Blackwell September 2, 2018 Reviews In a Venice year jam-packed with new, excitingly original works from established masters of world cinema, it was very difficult to pluck up excitement for a generic-looking French Infernal Affairs pastiche....
The Announcement – Venice 2018 Review Tom Bond September 2, 2018 Reviews When political instability becomes the norm, what happens to the fear and drama it normally inspires? The Announcement, directed by Mahmut Fazil Coskun, puts the basics of social interaction under the...
Suspiria – Venice 2018 Review Jack Blackwell September 2, 2018 Reviews Suspiria is not a film to have mild feelings about. Like Darren Aronofsky’s mother!, Luca Guadagnino’s remake/reimagining arrives in Venice as a work of gonzo, philosophically minded horror that all but...
Peterloo – Venice 2018 Review Jack Blackwell September 2, 2018 Reviews For all the wrong reasons, you can tell Peterloo was a passion project for Mike Leigh, and that the longstanding, beloved auteur has a deep fascination for the period. Every scrap of historical detail about...
The Happytime Murders – Review James Andrews September 1, 2018 Reviews The conceit of The Happytime Murders might have made a half decent Saturday Night Live sketch but a good, even passable, feature film it does not. Most frustrating is the sheer laziness of the script. Todd...
The Ballad of Buster Scruggs – Venice 2018 Review Tom Bond September 1, 2018 Reviews The Ballad of Buster Scruggs’s origins as a Netflix miniseries are obvious to see from its opening seconds, laying out a series of short stories about life and death in the wild wild west. We all know the...
Doubles Vies (Non-Fiction) – Venice 2018 Review Jack Blackwell September 1, 2018 Reviews As diverting as Non Fiction is, you would never want to spend an extended period of time with any of its characters. A cadre of dry, self-serious intellectuals, they’re all having affairs and engaging in...
Roma – Venice 2018 Review Jack Blackwell August 31, 2018 Reviews Following up his lauded, game-changing Gravity, Alfonso Cuaron has chosen something a lot more grounded with Roma. A passion project for the filmmaker, he directs, writes, produces, edits, and acts as DOP for...
The Other Side of the Wind – Venice 2018 Review Tom Bond August 31, 2018 Reviews It’s an uncanny feeling to be watching a new Orson Welles film, over thirty years after the man’s death. The Other Side of the Wind is a Frankenstein’s Monster of a film and is every bit as haphazard,...
The Favourite – Venice 2018 Review Tom Bond August 31, 2018 Reviews Yorgos Lanthimos and his tragicomic experiments have been a favourite of arthouse cinema for years now, from the bloody Dogtooth and The Killing of a Sacred Deer to the oddly tender The Lobster. If his...
A Star Is Born – Venice 2018 Review Jack Blackwell August 31, 2018 Reviews From the moment Lady Gaga was cast in this fourth big-screen iteration of A Star Is Born, everyone involved must have been thrilled to have its title take on such an obvious double meaning. She is, of course,...
Searching – Review Louise Burrell August 31, 2018 Reviews An interesting take on a well-worn plot, Searching shows David (John Cho) desperately trying to track down his daughter Margot (Michelle La) after she suddenly goes missing, but with every piece of action...