George C. Wolfe’s adaptation of the August Wilson play is a demonstration of captivating and powerful acting. Although it never seems to flourish visually, the chamber-piece story and powerful performance of the late Chadwick Boseman and the supporting ensemble carry it far.
COCOON, as the title and butterfly imagery in the film suggests, is about evolution, change and new beginnings. April McIntyre reviews.
MANK may become more of a cinematic curio in Fincher’s filmography but it has enough bite and edge here to give the film some degree of insight beyond the origin of one of cinema’s most significant works.
Sean Durkin’s first feature film since MARTHA MARCY MAY MARLENE – one of the best debuts of the previous decade – is a parable of the pursuit of prosperity begetting toxicity. Durkin’s characters and story show the descent of a family unit and place of shelter into a nest of vipers. The film begins in … Continue reading The Nest
THE YEAR OF THE DISCOVERY takes some dedication from the viewer due to its length, which perhaps would be better experienced in a theatre for full effect, but its runtime ultimately feels necessary to give space to the almost endless articulations of how the micro of individual life relates to the macro of world-political-economy. We are here now after the discovery, but it doesn’t mean we understand what we’ve found.
A film perfect for the festival circuit, and a wonderful dose of escapism at a time when it’s most needed, this slow rolling, deliberate and thought-provoking journey into the belly of the Hebrides almost mirrors the isolation of the world in 2020.
The bond between a mother and her missing son is pushed to extremes as she descends into the treacherous underbelly of a city spiralling out of control.
Vicious yet tender, The Prince explores the forced connections and surprising intimacy among prisoners in quite literally a cutthroat world.
AFRICAN APOCALYPSE is not an examination of grainy photographs and dusty historical sources but one of an enduring legacy of oppression and white supremacy. Jim Ross reviews.
With inconsistent characterisation and the film’s lack of romantic chemistry, even the glimmers of legitimate social commentary cannot stop AMMONITE from succumbing to blandness and adding very little to an already overcrowded genre. Megan Christopher reviews.
