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.
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 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.
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.
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.
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
Despite obvious budgetary limitations, this affectionate spoof has enough energy and wit to appeal to its core audience of horror junkies, writes Gavin Midgley.
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.
DANGER MOUSE is a relic of a time when the UK had only three national television channels, of a time when there wasn’t a lot of money around (unless you were Baron Silas Greenback). Keith Braithwaite reviews and contextualises the Cosgrove Hall favourite.
WAR WITCH: a truly remarkable film on many levels, showing in raw detail the destruction of war upon the human spirit. Mike Boyd reviews at the Cambridge Film Festival.
Although Jobs is a fascinating subject, THE LOST INTERVIEW is very tech-heavy in content and not for the casual film fan, writes Liam Jack.