2010s
Baby Driver is a joyous summer film, an indelible sugar rush that is further proof that Edgar Wright is the true saviour of popcorn cinema.
Well told, The Journey is an examination of the political relationship between Martin McGuinness and DUP Retiree Reverand Ian Paisley.
Rough Night starts weak- but with a decent amount of laughs and a deconstruction of gender tropes, it soon becomes a breath of fresh air.
The Seeker is a testament to Cloud Cult’s commitment to exploring new heights in the synergy between music and visual artistry.
While the filmmaking ambition of this low budget production can’t be faulted, What Waits In The Red feels overly familiar and somewhat cliched.
Megan Leavey’s delivers a good story, almost making up for its lack of focus and unwillingness to commit to its main storyline.
It may not be one of the most technically efficient documentaries ever made, but Hearing is Believing is certainly one of the most heartfelt.
The Lovers is an alternative romance that considers the harsh reality that maybe one love isn’t forever, and is simply the stuff of movies.
In Restless Creature, we follow nearly three decades of Wendy Whelan’s career as a ballerina with the New York City Ballet.
The Big Sick is not another run-of-the-mill rom-com: it’s got heart, humor, a touching story, and a refreshing take of immigrant life.
The Mummy, while primed to be an intelligent blockbuster, lacks a cohesive storyline, solid characters and originality.
Handsome has occasional moments of promise, yet it is bogged down by its shoddy story, underused characters, and failed attempts at humor.
Band Aid is a fantastic directorial debut- an utterly charming romantic comedy and an irresistible musical rolled into one.
Elliott Lester had juicy, absorbing material to work with. Unfortunately, he turns Aftermath into an underwhelming and empty endeavor.
Maudie works due to the central performance by Sally Hawkins, though the troubled relationship portrayed is occasionally too downtrodden.