2010s
The horror of the unknown, the horror of David, the horror of The Guest, all trace back to the simple question the film asks us and then leaves to fester: “Who is David Collins?”
Aided by a stellar central performance from Matt Dillon, The House That Jack Built is an unforgettable, uncomfortable nightmare, and one of the few films of the current age that more than lives up to its transgressive billing.
For all its superficiality, there’s a warmth to Coogan and Reilly’s central partnership in Stan & Ollie that – all stiltedness noted – deserves the faint smile it leaves you with.
Created by Mark Dennis and Ben Foster, Time Trap is a sci-fi/fantasy that starts with an interesting concept, yet turns into a jumbled mess of its own doing.
A wry, bittersweet but profoundly affecting cinematic experience, Can You Ever Forgive Me? is an astonishing examination of loneliness and detachment.
From start to finish, Ramen Teh is a joy, telling a powerful story about how our shared love of food can transcend cultural barriers.
Steve Coogan and Paul Rudd star in Ideal Home, a comedy about an upper middle class couple that feels out of touch, and severely outdated.
After spending his entire career finding the profundity in the mundane, Kore-eda has produced his finest example of this yet in Shoplifters.
There is much to admire about The Sisters Brothers; the powerful performances, the beautiful cinematography, and the statement on violence in the Old West.
Peterloo is a righteously angry film still mad at the widespread injustices that denied the less fortunate their basic human rights, almost two centuries later.
Hilarious, formally impeccable and necessarily provocative, Bodied may well be the greatest hip-hop movie ever made.
S. Craig Zahler’s loyal cult following will find much to love with Dragged Across Concrete, although first time viewers will find it a difficult watch.
Possum is an impressively chilling debut from Holness and credit must go to the director for taking a risk on a darker affair.
The Super has the occasional moment of great horror filmmaking – but not enough to make it a super film.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.