Life Of Pi
Despite some annoyingly blunt and simplistic narrative elements, Ang Lee’s LIFE OF PI is the work of a master visual storyteller, writes Jim Ross.
Despite some annoyingly blunt and simplistic narrative elements, Ang Lee’s LIFE OF PI is the work of a master visual storyteller, writes Jim Ross.
Today is the thirteenth anniversary of Robert Bresson’s death. Rosy Hunt commemorates his life with a review of DIARY OF A COUNTRY PRIEST, one of Martin Scorsese’s influences.
Although SEVEN PSYCHOPATHS never hits the heights of IN BRUGES, and isn’t as clever as it purports to be, McDonagh offers a bundle of meta-movie laughs, writes Jim Ross.
INDIE GAME is a glowing testament to the current standard of independent game design: consumers produce better digital media than their mainstream counterparts, writes Jonathan Toomey.
Where TONY MANERO showed Chile in 1978 at the height of Pinochet’s rule, here we see a very different Chile ten years later, a country at breaking point. Harry Hunt reviews NO.
TAKE ONE’s top drama pick at Brighton Film Festival: Adam Leon tells the story of two graffiti artists in the Bronx.
This superhero film isn’t about explosions and fistfights, it’s about personal and financial insecurity. Edd Elliott reviews.
Based on a cute manga of the same name, AIR DOLL is a classic “manic pixie dream girl” vehicle with a shocking twist, writes Rosy Hunt.
While it’s easy for Bill Murray to play against type, it might not be so easy for the audience to accept, writes Harry Hunt.
GREAT EXPECTATIONS is a rag-to-riches tale, dark thriller and gothic love story all rolled into one. You should perhaps lower your expectations for Mike Newell’s interpretation, writes Lillie Davidson.