2010s
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
Boy Erased is a sturdy drama with some touching moments and strong performances, enhanced by much-needed glimpses of dramatic sensitivity within the confines of a tough story.
Richard Todd’s Dying to Live is a sincere portrait of the state of Australian organ donation, a weirdly taboo topic with the highest of stakes.
Soul to Keep is a horror tale about sadistic ritualism that, whilst having its heart in the right place, struggles to break free from the shackles of genre conformity.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.
If you have children who are itching for a cinema trip during the spooky season, there have been much worse offerings than Goosebumps 2 in the past.
Night School is unforgiveably bland. It’s difficult to care about anything that happens, because the jokes are so flat, and the characters so dull.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
The Kindergarten Teacher is expertly magnetic as a vessel for a cringe-worthy effect of its own making, and with a strong central performance by Maggie Gyllenhaal as well.
Better Start Running feels like a cliched indie – fitted head to toe with an ever-present oddball ensemble cast – taking to the road for an adventure.
For this latest report from Film Fest 919, we into Robert Redford’s final film, the documentary about Orson Welles, and a Hillary Swank-starring drama.
Killer Kate! is silly and toneless – although flawed, it may be the calling card for debut filmmaker Elliot Feld for more suitable projects to come.
As glossy, glamorous and fast-paced as the auctions it focuses on, The Price of Everything is a fun look inside an elite world that few of us could ever imagine entering.
Rodin portrays its titular character as a fiery genius who is much better interacting with lumps of clay than he is with human beings. For an artist biopic, this is both predictable and exhausting.
Caniba is a disturbing film about human loneliness that feels rare in documentary’s contemporary canon.