Starbuck
Blandly competent film-making at its anodyne best: Keith Braithwaite reviews the French comedy STARBUCK, screened at Cambridge Film Festival.
Category Archives: Reviews
Doudege Wénkel (Blind Spot)
Jim Ross reviews DOUDEGE WÉNKEL, a police thriller from Luxermbourgian director Christophe Wagner that premiered in the UK at the Cambridge Film Festival.
North by Northwest
Alfred Hitchcock’s favourite plot, the innocent man on the run, is given the most expansive treatment in NORTH BY NORTHWEST. It is THE 39 STEPS on steroids; it is Hitchcock trying to out-Hitchcock himself, writes Gavin Midgley.
Jerks
With JERKS, Stelios Kammitsis has to be commended for making the most out of his first-time cast, and marks him out as a director of some promise, says Sarah Longfield.
The Well/Carbon for Water
THE WELL describes the effects of climate change from an anthropological perspective, and was screened with CARBON FOR WATER, an example of proactive documentary filmmaking with a clear directive, writes Christopher Stefanowicz.
Kid Thing
The Zellner brothers’ KID THING is promoted as a “fever dream fable”, though for all its Grimm sensibility, it will ring true to anyone who has known a lonely farm kid, writes Rosy Hunt.
The Big Eden
As controversial as Rolf Eden is, THE BIG EDEN is nevertheless worth watching even for those who do not agree with his lifestyle, writes Max Zeh.
The Princess Bride
Rob Reiner’s THE PRINCESS BRIDE may have turned 25 this year, but it is just as funny, heart-warming and entertaining as ever. The film begins with a little boy, ill in bed, reluctantly being read a story by his grandfather (a marvellous Peter Falk). The story is of Princess Buttercup (Robin Wright) and her true … Continue reading The Princess Bride
Dead Before Dawn 3D
Despite obvious budgetary limitations, this affectionate spoof has enough energy and wit to appeal to its core audience of horror junkies, writes Gavin Midgley.
Warsaw Bridge
Pere Portabella has fashioned a film which may not simply be dismissed as experimental: WARSAW BRIDGE has a confidence and an easy visual style that belies the obscurity its content, writes Christopher Stefanowicz.