Intensely understated with a meandering, directionless narrative, Daniel Harling reviews Matthew Porterfield’s divisive new film.
There are impressive elements to Thomas Arslan’s GOLD, even if they don’t quite work together as often as they should, writes Dan Harling.
Hyper-conscious, hallucinatory & highly contemplative – tantamount to being stuck in a ponderous nightmare, but one you’ve agreed to partake in. Dan Harling on ONLY GOD FORGIVES.
The films screened as part of the Disability Sport and Art Festival 2013 range from the insightful and poignant to the enjoyably barmy, writes Dan Harling.
Polley’s examination of the nature of truth and the fragility of memory is remarkably effective and makes for absorbing viewing, writes Dan Harling.
Mixed performances and a mismanaged soundtrack balanced by a powerful denouement: Dan Harling reviews Baz Luhrmann’s interpretation of THE GREAT GATSBY.
Although Rufus Norris’s directorial debut starts off on a well-trodden path, there is enough cinematic ingenuity here to make a film staple feel refreshingly original, writes Dan Harling.
Shaylena Mandigo’s joyous performance almost saves So Yong Kim’s pretentious, meandering low-budget drama, says Dan Harling.
Clichéd characters, infrequent chuckles and a series of increasingly farcical situations. Great expectations wilted for Dan Harling, who reviewed the Coen brothers’ GAMBIT.
Bert Stern is effectively two men, writes Daniel Harling – celebrated photographer and troubled depressive. In Original Madman, we are granted access to this enthralling man.