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The Handmaiden – Review

Park Chan-wook’s newest film, The Handmaiden, adapted from Sarah Waters’ crime novel Fingersmith, follows the story quite closely, though setting the film in 1930s Korea and Japan instead of Victorian...
A Dark Song... Photograph By Paul Doherty Photography

A Dark Song – Review

A Dark Song makes its first impression as a slow-building drama, opening atmospherically with a mournful score and moody timelapse photography of stormy skies. Leads Catherine Walker and Steve Oram walk a fine...
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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...
Moonlight

Moonlight – Review

Moonlight is a strange mixture of the old and the new, offering plenty that we’ve seen before while pushing boundaries that too often remain rigid in mainstream films. Director Barry Jenkins begins in the...
Tower

Tower – Review

Tower stands as a proud example of how documenting humanity's worst moments will always show humanity at its best. This moving film sidesteps typical breakdowns of killer Charles Whitman's identity and...
ToniErdmann

Toni Erdmann – Review

When a synopsis promises: “A man who loves playing practical jokes visits his workaholic daughter in disguise as an eccentric life coach”, you could be forgiven for thinking you’re watching an episode of...
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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...
Lion

Lion – Review

Lion, at first glance, has a cracking set of credentials. A blockbuster cast of newcomers and screen veterans? An unbelievable true story that spans decades and continents? A nifty use of the internet and...
AMonsterCalls

A Monster Calls – LFF 2016 Review

Punchy, profound and deeply enchanting, A Monster Calls is a home run for all involved - particularly a stacked cast who all give moving performances tied to a tricky subject, and a director who balances...
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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,...
Divines

Divines – LFF 2016 Review

In many ways Divines feels like an amalgamation of all the socially conscious European films of the last decade. There is the French estate setting of Dheepan, the sexual exploitation and feminist rebellion of...
Nocturama

Nocturama – LFF 2016 Review

Nocturama kicks off with a gripping start, weaving through Parisian streets and cutting back and forth in time as a group of teenagers carry out a series of attacks that shake the city. Director Betrand...
Women Who Kill

Women Who Kill – LFF 2016 Review

Women Who Kill entrenches itself into Park Slope hipsterdom - if obscure podcasts and locally sourced food co-ops aren’t your thing, you may not enjoy your time in Women Who Kill’s particular niche....
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’76 – LFF 2016 Review

Despite an intriguing historical setup, ‘76 struggles to tell a cohesive political story, and loses its thread as the personal subplots overshadow the events of the coup. Ramsey Nouah does a fine job as...