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Uncut Gems – Review

Originally published as part of our London Film Festival coverage in October 2019 As much as American cinema is based in LA, it’s New York that has always been the country’s most iconic on-screen...
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The Week Of – Review

As we reach the fourth instalment in his now eight-movie deal with Netflix, Adam Sandler’s position in the pantheon of comedic greats has never been more contentious. For every Punch-Drunk Love there’s...
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The Meyerowitz Stories – Review

If The Squid and the Whale and The Royal Tenenbaums had a baby, The Meyerowitz Stories (New and Selected) would be it. The ultimate dysfunctional family with a wily and irrepressible patriarch at the helm may...
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The Ridiculous 6 – Review

With neither the anticipation of The Hateful Eight nor the veneration of The Magnificent Seven, in rides The Ridiculous 6. The potential freedoms of a direct-to-Netflix deal seem to have been ignored by...
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Pixels – Review

Pixels is probably fine if you have nothing better to do. Narrative inconsistencies and total changes within the film’s own logic seem to come out of nowhere every few minutes – though I guess none of...
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The Cobbler – Review

As if it wasn't jarring enough to see Sandler and Buscemi play understated with nary a slippery footed Kevin James in sight. Writer/director Thomas McCarthy has created an uneasy mess; shifting its tone from...
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Men, Women & Children – LFF Review

Jason Reitman's deceptively light exploration of the Digital Age couples both comedy and tragedy through near-accepted absurdity. Despite Men, Women & Children's initial, "sexually playful" approach, it...