article placeholder

Zombieland: Double Tap – Review

A sequel that no one really asked for or expected, Zombieland: Double Tap arrives 10 years after its predecessor. The first instalment offered guts and gore and was far from taking itself seriously, with...
article placeholder

Vivarium – Cannes 2019 Review

Don’t even talk to me about getting a mortgage. In this economy? May as well resign yourself to renting forever and raising your own Chernobyl of a nuclear family from a cupboard under the stairs. Vivarium...
article placeholder

Café Society – Review

Early on in Café Society, Woody Allen’s 47th film, Jesse Eisenberg’s character meekly hires a prostitute. It’s his first such transaction, and he’s edgy. When she finally arrives, he’s gone off the...
article placeholder

Now You See Me 2 – Review

Now You See Me 2’s pledge is simple: to be Now You See Me all over again. It’s no mistake or misdirection - this is the same trick they did last time. That doesn’t spoil all of the fun though - the...
article placeholder

Louder Than Bombs – Review

As with his previous film, Oslo, August 31st, Joachim Trier's finest directing moments in Louder Than Bombs come with voiceovers and memories, plus one excellent extended party sequence. For his English...
article placeholder

The End of the Tour – LFF Review

With a pair of perfectly calibrated performances from Segel and Eisenberg, End of the Tour both entertains and inspires introspection as it combines a cerebral thoughtfulness with rich character chemistry and...
article placeholder

The Double – Review

The Double sees Jesse Eisenberg thumping his two favourite masks - milksop and  scumbag - together as if they were a pair of cymbals. This doppelgänger nightmare is something we should want to digest...