2010s
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
Rotoscoping hasn’t really been used in this way before. True, this feature from German-Iranian animator…
Much like the eponymous letters, The Aspern Papers is not worth divulging the contents of and would be better off remaining a secret.
It’s undeniably flawed, but considering its mindbogglingly low £2,000 budget, The Bastard Sword is an impressive achievement.
Storm Boy, an adaptation of a beloved 70’s Australian children’s book, succumbs to the powers of its own nostalgia.
The Pinch is occasionally funny, occasionally violent, and occasionally surprising, which makes for a just about passable watch.
Lukas Dhont’s directorial debut, Girl, is one of the year’s most irresponsible films, and could have a negative impact on younger trans viewers.
All the Devil’s Men is a montage of cheap jokes and even cheaper action sequences, offering nothing new to the espionage genre.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
Individually, scene to scene, Second Act has its highlights. But as a whole, the film simultaneously works and doesn’t work – the epitome of a mixed bag.
Anchored by a strong performance from Hermione Corfield, Rust Creek is a deceptively layered thriller that touches upon the horror in being a woman.
The Merry Wives of Windsor can be enjoyed by all whether you are versed or have no knowledge of the works of Shakespeare.
As a narrative dive into the complexities of grief, State Like Sleep grazes the surface but doesn’t commit.
Carried by the weight of Willem Dafoe’s performance, At Eternity’s Gate is not a bad film, but it is not an outstanding one either.