Robert The Bruce
ROBERT THE BRUCE find itself caught between two stools, and although well made, that undermines the intimate concept and commanding central performance. Jim Ross reviews at Edinburgh International Film Festival.
Category Archives: Festival Coverage
What She Said: The Art of Pauline Kael
It’s troubling to think a documentary about film criticism wouldn’t understand or appreciate the most basic of facts. This film’s ahistorical fawning doesn’t honour the life and work it purports to, writes Marc Nelson from EIFF 2019.
Balance, Not Symmetry
Chris Dobson reviews BALANCE, NOT SYMMETRY, the new film by Jamie Adams and Biffy Clyro’s Simon Neil, at Edinburgh International Film Festival 2019.
Apollo 11
By virtue of having aged yet visually powerful footage, APOLLO 11 is certainly worth capturing on the big screen and will be orbiting your mind for a long time after. Elle Haywood reviews.
The Furies
THE FURIES is reminiscent of the Sam Raimi style of splatterfest horror, with a Baz Luhrmann-esque twist of Australian camp, but it’s difficult to decide if it is a good movie or not. Joshua Ragan reviews at EIFF 2019.
Yesterday
Although YESTERDAY has its issues, the performances and neat story concept will leave you feeling entertained and energetic. Joshua Ragan reviews at Edinburgh International Film Festival.
Love Type D
LOVE TYPE D has a very familiar look and feel, but the gene pool of this comedy is wide enough to result in the DNA of a healthy success of a film. Jim Ross reviews at Edinburgh International Film Festival.
The Puppetmaster
Edinburgh’s Scene Taiwan Film Festival programmed THE PUPPETMASTER (1993) during its June run, and the film emerges as possibly the apotheosis of Hou Hsiao-hsien’s art. Marc Nelson reviews.
Aniara
Pella Kågerman and Hugo Lilja’s ANIARA is a slickly allegorical take on the doomed space flight archetype, that stands out in a crowded genre landscape. Jim Ross reviews at Edinburgh International Film Festival.
Boyz in the Wood
BOYZ IN THE WOOD is a fast-paced bumper car ride, with great comic timing and a sprinkling of social awareness. Jim Ross reviews the Edinburgh Film Festival opener.