Ed Frost, at the London Film Festival, reviews EVERYDAY – Michael Winterbottom’s latest feature; a project elegantly pieced together and filmed over the space of five years.
Marrying perfectly judged humour with incessant imagination, ERNEST AND CELESTINE is an absolute joy; an almost faultless 80-minute burst of unabashed delight, writes Ed Frost at the London Film Festival.
Measured and well plotted, OUR CHILDREN is a tough watch and a hefty story from Joachim Lafosse. Ed Frost reviews at the London Film Festival.
CELESTE AND JESSE FOREVER is a shrewd, likeable and well-meaning indie that couples sympathetic performances with fine writing and sincere humour, writes Ed Frost at the London Film Festival.
IT WAS THE SON becomes distractingly frenetic, disoriented by its own irritatingly mismatched tonal shifts that build towards an unsatisfying experience, writes Ed Frost at London Film Festival.
THE WE AND THE I is the latest offering from distinctive French director Michel Gondry, and is the finest he has been since THE ETERNAL SUNSHINE OF THE SPOTLESS MIND, writes Ed Frost at London Film Festival.
EVERYBODY HAS A PLAN starts as an original depiction of two siblings at war, yet whatever boldness it carries eventually fades away into murky obscurity, writes Ed Frost at the London Film Festival.
Although it works as the surface package of fantasy rom-com, RUBY SPARKS has a subversive tone and some sharp satirical bite, writes Jim Ross.
Competing in the First Feature Competition at the BFI London Film Festival is Scott Graham’s quietly devastating film SHELL, which takes minimalism to tender and shatteringly nuanced extremes.
Set during the conflict between Israel and Palestine in 1982, Eran Riklis’ ZAYTOUN lacks the weight to fully transform it beyond the mildly watchable, writes Ed Frost at the BFI London Film Fest.