Alma Har’el garners excellent performances from her cast to tell the touching story based on writer-star Shia LaBeouf’s own experiences. Jim Ross reviews.
KNIVES OUT subtly upends the outrageously cliched ‘whodunnit’ format and combines that with excellent performances. Jim Ross reviews.
Jim Ross previews the opening night of the 2019 Edinburgh Short Film Festival.
The manner in THE LAST BLACK MAN IN SAN FRANCISCO gently and lyrically blends that story with ideas of home, belonging, and internalised personal history transcends the boundaries of San Francisco or the Bay Area. Jim Ross reviews.
Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips’s film is a Batmobile with the engine of a clown car. Jim Ross reviews.
Many of the themes of the light-hearted and enjoyable SCHEMERS remain relevant to this day, but the setting gives the film an affectionate nostalgia to hang them upon. Jim Ross reviews.
In THE DAY SHALL COME Chris Morris develops a sadness at the absurdity that perpetuates a status quo with an expensive human cost. Jim Ross reviews.
Jim Ross spoke with the makers of the Swedish sci-fi festival hit ANIARA, out now in UK cinemas and available digitally.
PAIN AND GLORY is a beautiful portrait of an accumulation of decades of personal experiences, decisions, connections and creative expression. Pedro Almodóvar turns his skill for dissecting passion and desire inward to create a character study that is both intensely personal and relatable on account of the heartbreak and soul-stirring it conjures. Jim Ross reviews.
The uniquely melancholic lament of ONCE UPON A TIME IN HOLLYWOOD, belied by the fairy-tale title, suggests Tarantino’s misty-eyed romanticism for cinema has perhaps clouded the clarity of his own artistic vision. Jim Ross reviews.