The uniquely melancholic lament of ONCE UPON A TIME IN HOLLYWOOD, belied by the fairy-tale title, suggests Tarantino’s misty-eyed romanticism for cinema has perhaps clouded the clarity of his own artistic vision. Jim Ross reviews.
APOCALYPSE NOW deserves its cult status. But it is a film where the journey is more interesting than the destination, writes Alice
TRANSIT presents the darker shadows of history. Humankind itself is stalled and in limbo. While we stand still, the echoes of the past grow louder until we can hear them loud and clear right alongside us. Jim Ross reviews.
Adding to the number of black-and-white devotees, Kirill Serebrennikov cooks a gorgeously looking film too self-conscious to be ultimately gratifying. Serena Scateni reviews.
BLUDGEON is a documentary that celebrates self-confidence, companionship and all things weird and wonderful. Sammy Andie Bennett reviews.
Shifting between gloomy exploration of the sex trade and gritty revenge thriller, LA MALA NOCHE is an intriguing yet tonally uneven drama featuring some strong performances. Murray Ferguson reviews
Alexandre Moratto’s feature SOCRATES resounds a compelling and refreshing insight. Stephanie Brown reviews.
Andrew Gibson’s GUTTERBUG is a sweaty, bloody, dirty mosh pit of a film that pulls no punches, writes Gabriel Farrell.
“A great British road movie, reminiscent of the Coen brothers at their best…” Gabriel Farrell reports back from Woods Hole Film Fest.
THE CANDIDATE (originally released as EL REINO) is a slow burner with executive scandal and corruption at its core. Francesca Woulfe reviews.
