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.
BOMBSHELL should be celebrated for shining the spotlight on female survivors of sexual harassment. Although flawed in its execution, it is to be hoped that this film will be one of many in a long line of #MeToo era movies. Chris Dobson reviews.
Although Joel Edgerton’s BOY ERASED may succeed in its obvious intents, it sadly lacks the necessary power to shine. Serena Scateni reviews from Rome Film Festival.
Would you let a blue-bellied Yankee-doodle dandy into your school for girls? John Cheshire reviews Sofia Coppola’s latest feature film, premiering at the 70th edition of the Cannes Film Festival.
Punk rock rules! There are extra-terrestrial goings on in Croydon as John Cheshire discovers, reviewing John Cameron Mitchell’s latest feature film at Cannes Film Festival.
An eye for an eye. Is it time to break up the nuclear family to balance the scales of justice? Jack Toye reviews the latest feature film from Greek auteur director Yorgos Lanthimos at the 70th edition of the Cannes Film Festival.
BEFORE I GO TO SLEEP is a well-structured, skilfully acted thriller which loses its effectiveness after it places its cards on the table, writes Elliot Wright.
Lizzie Scourfield talks to the minds behind BEFORE I GO TO SLEEP, director Rowan Joffe, and the writer of the novel, Steven J Watson.
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
Slick, dark and compelling, the latest offering from Lee Daniels is an intricate mess of romance and criminality, bringing with it graphic murders, intense arguments and brutal sexual encounters.
