William Tell
The first feature film adaptation of William Tell’s story since 1960 feels more like farce than fable. Left behind in the wake of its shortcomings is a film where the craft doesn’t match the potential of its material.
Category Archives: Reviews
Nosferatu
This edition of NOSFERATU is often visually remarkable, but falters in communicating the paralysis borne of fear and desire and is content to menacingly nibble around the edges rather than sink its teeth in.
Babygirl
BABYGIRL is festive family fun in the least traditional sense. Finding levity and grace in human weakness and the messiness of navigating human desire and dynamics, the film gives generational acting talents a phenomenal showcase that will ignite conversation, not offer the final word.
All We Imagine As Light
Making for an incredibly rich viewing experience, ALL WE IMAGINE AS LIGHT is a skilful fusion of organic social realism with a poetic, personal and often impressionistic approach.
Caligula: The Ultimate Cut
CALIGULA: THE ULTIMATE CUT threatens to prioritise style and depravity over substance, but perhaps that excess is the critique. While the new version does not elevate the material to masterpiece status, McDowell’s fearless turn and the curiosity of an unsanitised release make this worth watching.
Getting Lost
GETTING LOST is a worthy two hours because of how it forever returns to Lost’s fans and the communities they created.
We Live In Time
Some uninspired creative choices in WE LIVE IN TIME are not enough to detract from Andrew Garfield and Florence Pugh’s central performances, dispelling most of the tired cancer cliches with a heartfelt, moving tale of love and loss.
Grand Theft Hamlet
GRAND THEFT HAMLET is a relic of a strange time made with love, ingenuity, and originality, a testament to the enduring, almost addictive appeal of live theatre and human connection no matter what obstacles arise.
On Becoming a Guinea Fowl
ON BECOMING A GUINEA FOWL – Rungano Nyoni’s second feature film – is a skilfully constructed balance of tone and expectations. The film finds reason in oddities, truths in ambiguities, and joy despite trauma, all underscored by a superb performance from Susan Chardy.
Rumours
Despite a messy and unfocused narrative trajectory, the depth of absurdity Guy Maddin (and co-directors Evan Johnson and Galen Johnson) offers in RUMOURS skewers the modern geopolitical scene better than most.