RoboCop (2014)
Neither a complete failure nor entirely successful, ROBOCOP 2.0 scrapes a pass but can’t escape the shadow of its forebear, writes Gavin Midgley.
All posts by Gavin Midgley (Associate Editor)
The Railway Man
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
Mandela: Long Walk to Freedom
Justin Chadwick’s superficial overview of the late icon’s life fails to do justice to its subject, writes Gavin Midgley.
The Innocents
Re-released as part of the BFI’s Gothic strand, THE INNOCENTS is a work of haunting resonance, writes Gavin Midgley.
Blue Is the Warmest Colour
Abdellatif Kechiche’s Palme d’Or-winning drama is an extraordinarily vivid portrayal of the highs and lows of love, writes Gavin Midgley.
Philomena
Stephen Frears’ emotional crowdpleaser boasts a memorable partnership in Steve Coogan and Judi Dench, writes Gavin Midgley.
Captain Phillips
For a film that wrings such expertly orchestrated tension from real life events, CAPTAIN PHILLIPS turns out to be surprisingly unmemorable.
My Sweet Pepper Land
This satisfying blend of Middle Eastern drama and spaghetti western homage boasts two terrific lead performances, writes Gavin Midgley.
My Beautiful Country
This Kosovo-set war drama is emotionally engaging despite its overly familiar plot and characters, writes Gavin Midgley.
Machete Kills
“Machete don’t tweet.” Twitter’s loss is our gain as this sequel, showing in the FrightFest strand, is a nonsensical yet amusing action spoof, writes Gavin Midgley.