Scales
Short but sweet, and laden with symbolism, Shahad Ameen’s directorial debut has more than enough power to capture the imagination.
Short but sweet, and laden with symbolism, Shahad Ameen’s directorial debut has more than enough power to capture the imagination.
Tanja Schangin reviews AMERICAN WOMAN, director Jake Scott’s new film, which comes out on Friday 11 October.
Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips’s film is a Batmobile with the engine of a clown car. Jim Ross reviews.
THE LODGE executes a gripping horror, and whilst it is by no means a heart-stopping thriller, its subtle, susurrus nature is sure to snare the audience in its icy grip. Elle Haywood reviews at London Film Festival.
THE FAREWELL speaks profoundly about how we express love, how we express truth, and how those often aren’t the same thing. Simon Bowie reviews.
Chris Dobson reviews THE GOLDFINCH, John Crowley’s adaptation of the Pulitzer Prize-winning novel by American novelist Donna Tartt.
The showing of documentaries such as QUEERING THE SCRIPT on the film festival circuit is just as vital for the LGBT community as the television shows it discusses. Amber Heath reviews.
Many of the themes of the light-hearted and enjoyable SCHEMERS remain relevant to this day, but the setting gives the film an affectionate nostalgia to hang them upon. Jim Ross reviews.
THE PEANUT BUTTER FALCON raises important issues and also provides a feel-good vehicle to a great new talent in Zack Gottsagen to shine through. It succeeds in evoking both the spirit and the essence of its core inspirations, Mark Twain in particular. Gabriel Farrell reviews at LFF.
FROM ZERO TO I LOVE YOU covers the complexity of relationships: of two people coming together from different walks of life trying to be together despite their fears, and life’s unexpected events, proposing a full picture of what love can be. Melanie Toutakova reviews at SQIFF 2019.