A quietly dramatic series of chamber vignettes, the measured rhythm of BARCELONA (UN MAPA) will gradually draw you in, writes Jim Ross
Although SAVAGE WITCHES doesn’t quite work all the time, some parts of this bold and liberated experimental film are simply wonderful, writes Jim Ross.
COMIC-CON EPISODE IV: A FAN’S HOPE is a funny and amiably diverting documentary, but it ends up providing no insight into its subject matter, writes Jim Ross
HIT AND RUN, for all its faults, manages to largely avoid some of the more lazy and offensive attitudes and stereotyping that has beset recent American comedies, writes Jim Ross.
After opening the Cambridge Film Festival with his new film HOPE SPRINGS, Jim Ross spoke to director David Frankel about the film and how hard it is to make interesting and challenging films in Hollywood.
Jim Ross reviews DOUDEGE WÉNKEL, a police thriller from Luxermbourgian director Christophe Wagner that premiered in the UK at the Cambridge Film Festival.
Like the characters in ON THE ROAD, visual and aural hedonism will distract you from the clear self-indulgence and lack of control – but only up to a point, writes Jim Ross.
It sounds like something rented from a store with no windows (if you know what we mean) but Fredrik Gertten’s documentary is an illuminating film, dealing with issues of free speech and a free press.
Ahead of the shorts programme TO CELEBRATE, Jim Ross speaks to Rehana Khan, the director of DAYS OF AWE – one of the highlights of the shorts at the Cambridge Film Festival.
They may pull in audiences, but using cinematic brand names as TOTAL RECALL and THE BOURNE LEGACY did kills narrative and leaves audiences feeling duped, writes Jim Ross