Neither a complete failure nor entirely successful, ROBOCOP 2.0 scrapes a pass but can’t escape the shadow of its forebear, writes Gavin Midgley.
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
Justin Chadwick’s superficial overview of the late icon’s life fails to do justice to its subject, writes Gavin Midgley.
Re-released as part of the BFI’s Gothic strand, THE INNOCENTS is a work of haunting resonance, writes Gavin Midgley.
Abdellatif Kechiche’s Palme d’Or-winning drama is an extraordinarily vivid portrayal of the highs and lows of love, writes Gavin Midgley.
Stephen Frears’ emotional crowdpleaser boasts a memorable partnership in Steve Coogan and Judi Dench, writes Gavin Midgley.
For a film that wrings such expertly orchestrated tension from real life events, CAPTAIN PHILLIPS turns out to be surprisingly unmemorable.
This satisfying blend of Middle Eastern drama and spaghetti western homage boasts two terrific lead performances, writes Gavin Midgley.
This Kosovo-set war drama is emotionally engaging despite its overly familiar plot and characters, writes Gavin Midgley.
“Machete don’t tweet.” Twitter’s loss is our gain as this sequel, showing in the FrightFest strand, is a nonsensical yet amusing action spoof, writes Gavin Midgley.