Paul Thomas Anderson’s proven filmmaking ability makes ONE BATTLE AFTER ANOTHER a technically accomplished picture that is gripping and entertaining, taking sides in the battle for history without losing its capacity for doubt.
KILLERS OF THE FLOWER MOON achieves a delicate balance and underscores the dysfunction of America as a result of the pursuit of wealth; the warping of ambition into exploitation, ingenuity into criminality, and dreams into delusions.
Although DON’T LOOK UP is undoubtedly sharper than Adam McKay’s previous political feature, VICE, the same smugness and cocksure piety blunt the more incisive moments, just as many performances are pitched more for caricature than satire.
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.
Rosy Hunt cherry-picks the Oscars’ most interesting, aesthetically pleasing and controversial.
Martin Scorsese’s film struggles with the contradictions of its source material despite a nuanced performance from Leonardo DiCaprio, writes Robbie Griffiths.
Mixed performances and a mismanaged soundtrack balanced by a powerful denouement: Dan Harling reviews Baz Luhrmann’s interpretation of THE GREAT GATSBY.
Guest writer Simon Baron-Cohen, who introduced the Cambridge Arts Picturehouse screening of WHAT’S EATING GILBERT GRAPE?, looks at the film’s portrayal of autism.
