All posts by Jim Ross

Jim has written about film since freelance since 2010, and is a co-founder and the Editor-in-Chief of TAKE ONE Magazine. From 2011-2014 he was a regular co-host of Cambridge 105FM's film review show. Since moving back to Edinburgh he is a regular review and debate contributor on EH-FM radio's Cinetopia film show. He has worked on the submissions panel at Cambridge Film Festival and Edinburgh Short Film Festival, hosted Q&As there and at Edinburgh's Africa In Motion, and is a former Deputy Director of Cambridge African Film Festival. He is Scottish, which you would easily guess from his accent.

Kenny Dalglish

KENNY DALGLISH provides an extended example not only of how sport, politics, and social justice can intersect, but also of why they should, whilst being mindful of the cost to those who feel they must.

A Sad and Beautiful World

Director Cyril Aris’s A SAD AND BEAUTIFUL WORLD tells a story that can and has collapsed into a maudlin heap many times on film. However, the gentle chemistry of the romantic leads, the dexterity with which the film handles the passage of time, and the sincerity of relatable themes refracted through a Lebanese prism make the film an affecting and engaging romantic drama.

Anemone

ANEMONE is fortunate in being able to call upon Daniel Day-Lewis’s first film performance in eight years. Although Ronan Day-Lewis manages to garner a performance of simmering intensity from his father, their co-written script is flat and opaque to the point of tedium.

Frankenstein

If Shelley’s novel can be considered the dense and sprawling sheet music for an orchestral symphony of ideas, then Del Toro’s arrangement here is sparser. However, even if the result lacks some of the richness laid out on the page, the tune of FRANKENSTEIN extracts tension, horror and beauty that harmonises with the full version.

Ballad of a Small Player

BALLAD OF A SMALL PLAYER rarely fails to be entertaining, with the visuals and performances taking the film a long way. However, they are fleeting thrills in the service of an unmemorable story. Edward Berger’s film looks like a high roller, but it’s playing with buttons and matchsticks.