2010s
22 July begins as an urgent and devastating film, before suddenly turning into a never-ending slog, destined to leave viewers wondering where things went wrong.
After failing to get the film out of production hell for so many years, it’s no surprise The Man Who Killed Don Quixote feels world weary and cynical.
The Hate U Give is an important film; it understands the suffering poor communities go through, and how economic circumstances can enflame racial tensions.
Bohemian Rhapsody provides casual fans with some raucous concert re-enactments, but those seeking insight into the band’s and particularly Mercury’s history should look elsewhere.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
Vox Lux is a weighty experience guaranteed to take a toll on viewers, both from its philosophical musings and its uncompromising look at 21st century violence.
If it’s undeniably riddled with imperfections, Apostle is still a worthy new venture from an abundantly talented filmmaker.
Mario tackles the stigma of being a gay man in professional soccer with remarkable realism and heart, with what could have been excessively melodramatic or exploitative.
They Shall Not Grow Old is a major monument for our memory of the British soldiers who fought in WW1 and an enormous step forward in depicting history through cinema.
Halloween ends strongly, which always helps, but the picture lacks imagination in too many other areas to have any lasting impact.
If you’re a fan or a newbie or just someone looking for a bloodbath of an action movie, move The Night Comes for Us to the very, very top of your list.
Stolen Daughters: Kidnapped By Boko Haram, directed and co-produced by Gemma Atwal, explores the history if abducted girls and the continued presence of Boko Haram in Nigeria.
What makes Nigerian Prince stand apart from the cavalcade of other crime thrillers cribbed straight out of the Guy Ritchie handbook is its Nigerian setting.
What They Had is an honest snapshot of a family during crisis, in all its inevitably chaotic shades – it’s exactly what you’d hope a movie about Alzheimer’s would be.
Two for Joy is desperate and demanding, but it offers something which is rarely allowed in films which depict poverty. – it offers hope.