The Last Guest of the Holloway Motel
THE LAST GUEST OF THE HOLLOWAY MOTEL is a testament to a wish to change the oppressive gender ideals living in the football sphere and start building a community in support of queer football players.
Category Archives: Reviews
Virginia Woolf’s Night and Day
Based on the 1919 book, Tina Gharavi’s film adds entertaining anachronisms and dramatic storylines to suit its new medium; some of these choices land, others are not given the time to warrant their daring.
Blue Heron
BLUE HERON is a gentle demonstration of cinema’s power, and Romvari’s ability to create a tangible, shared experience of something difficult to put into words. The film is one of fuzzy memories & half-truths, but the impression it leaves is firm & enduring.
Backrooms
BACKROOMS is an eerily realised creative vision, but it’s difficult to escape the idea that it takes a suboptimal turn away from the technical strengths that give this adaptation such a firm footing.
Köln 75
Performances and occasional wit cannot save KÖLN 75 from being baffling and trying. Unlike the real concert, this film squanders what could be a great premise on a too-neat feel-good story.
Hen
HEN merely enables the viewer to take comfort that, although they may not have yet gone vegan, at least they’ve likely never chucked a living chicken off the roof of a building for their art.
The Good Boy
Despite its allegory that is as blatant as an audience might expect, THE GOOD BOY packs in a surprising amount of affecting moments, and the knowledge England’s Good Boys can only be raised by Good Systems.
Michael
MICHAEL will inevitably attract ire with its depiction of Jackson’s life, or, more accurately, what it seems to omit. However, MICHAEL is also an inexplicably boring film which is bland at best and cowardly at worst.
Omaha
OMAHA might not employ the most thoroughly crafted methods by grabbing the heartstrings in its fist, but the cast’s performances capture an honest empathy that is difficult to put aside. And maybe you shouldn’t.
Exit 8
EXIT 8 leans a little too heavily on [the ‘liminal space’] aesthetic to remain fully engrossing for even the succinct 95-minute runtime, but the film finds its way much faster than The Lost Man did.