Ulrich Köhler’s IN MY ROOM is an inventive and largely compelling take on the ‘last man on earth’ scenario, writes Tina Kendall.
GIRLS OF THE SUN is told from the perspective of Mathilde who is a French journalist writing an article about “the truth” of women fighting ISIS in Kurdistan.
SOLO has a nice shiny, squeaky Disney feel to it and lacks the rugged authenticity of the other films, writes Elle Haywood at the Cannes Film Festival.
Lars Von Trier delivers another uncomfortable cinematic viewing… Elle Haywood reports back from the Cannes premiere.
BLACKKLANSMAN is an astonishing comeback for Spike Lee, writes Juanita Samson.
Diablo Cody’s third women-in-modern-America story is sharp and comical but ends with a tricksy whiff of Shyamalan, writes Andrew Nickolds.
Finding romance amid the Nazi ravages of World War 2 is nothing new in the movies, but Guernsey is a long way from Casablanca in every sense.
Elle Haywood examines why “The Post” is so relevant in today’s contemporary world of journalism and political accountability.
THE SHAPE OF WATER feels joyously unashamed of how strange it is, as if to say, “If you don’t like me, then you’re in the wrong cinema,” writes Ben Jones.
Andrew Nickolds compares two films on the same subject – the attempted round-the-world voyage by amateur sailor Donald Crowhurst, for which the term ‘ill-fated’ is a grotesque understatement …