Mean Girls (2024)
Scepticism can be left at the door; with its spark, originality, and excellent performances, MEAN GIRLS (2024) is heartily enjoyable on its own merits.
All posts by Carmen Paddock
Tchaikovsky’s Wife
TCHAIKOVSKY’S WIFE becomes stranger and richer on reflection, and with other quasi-historical biopics having recently made waves, it feels well-timed to enter the canon and reexamine a doomed relationship.
Fallen Leaves
Aki Kaurismäki’s first film since 2017 continues with his trademark mix of deadpan humour and social realism in a clear-eyed take on class politics, mobility, and never succumbing to hopelessness.
Is There Anybody Out There?
IS THERE ANYBODY OUT THERE? is a cry for solidarity outside the bounds of what society considers normal. Filmmaker Ella Glendining is as exacting and rigorous with her assumptions as she is in challenging others, encouraging an empathetic reflection as the film’s ending scenes roll.
Lie With Me
The events of LIE WITH ME would seem trivial to anyone other than the two concerned parties, and it is the everyday details and bucolic setting that allow character moments to organically emerge.
Rodeo
The tonal unevenness of Lola Quivoron’s feature debut RODEO may hinder greatness, but the ride is electric. Carmen Paddock reviews.
Mister Organ
MISTER ORGAN is a fascinating portrait of a narcissist’s litany of power trips. Carmen Paddock reviews.
Great Yarmouth
GREAT YARMOUTH rushes comeuppance slightly too neatly and swiftly. However, director Marco Martins’ Norfolk retains some of the county’s folk horror sensibilities; the forced propulsion does not preclude its haunting staying power once credits roll.
My Small Land
MY SMALL LAND should launch two stellar careers with its astute portrait – told in three languages – of a specific situation that feels transferable in this age of global anxiety and xenophobia.
Off the Rails
OFF THE RAILS is a breathless narrative that may have benefited from reflection and structure, but the spark and spirit are captivating throughout.