The bleak, barefoot poverty of LAWLESS may seem familiar, but John Hillcoat pairs it with an unexpected chaser of grim, blood-spattered humor writes Ann Linden
Screening in Sawston on day 1 of CFF: Robert Donat stars as “wrong man” Hannay in this, the most popular of all adaptations of Buchan’s novel, which found favour with the author himself despite its many liberties.
Peter Strickland’s followup to KATALIN VARGA invokes seventies European horror films and breaks down the very barriers of cinema, akin to PERFORMANCE or MULHOLLAND DRIVE, writes Euan Andrews.
Although it threatens to tip over into twee irritation, Sarah Polley’s TAKE THIS WALTZ never does and the cast delivers a well-acted personal drama, writes Jim Ross.
WHITE NIGHT WEDDING jumps erratically between hard-core northern European family breakdown horror and sub-Father Ted eccentric locals hi-jinks. But Iceland is just about yummy enough that they get away with it.
Those ripples in your water glass – the Cambridge Film Festival is coming. Dinosaurs will stalk the lawns at Felbrigg Hall on September 1st, at the outdoor screening of a monster classic. Jim Ross looks back at Spielberg’s JURASSIC PARK, his first film love.
James Marsh’s portrayal of pre-peace process Belfast features strong performances and a beautifully ambiguous denoument, writes Edd Elliott.
A pathological liar and serial impersonator insinuates himself into the grieving family of a missing child. Lillie Davidson reviews Bart Layton’s fascinating true story of deceit and self-deception.
Although THE BIRD never really takes flight, it’s an involving piece where the heart and emotion lies in what goes unsaid, says Jim Ross
THE FORGIVENESS OF BLOOD is fantastically involving tale about the suppression of youth by ancient traditions, says Jim Ross