2017
Only the Brave is more concerned with its traditional gender politics than making any grander statement on man’s relationship with nature.
In her final report, Emily recalls more films from the Heartland Film Festival, including Thelma, Dolores, Liyana and more.
Whilst it has many problems, Maya Dardel is a prickly, contentious and fascinating film that knows with absolute certainty what it is.
Happy Death Day is a fun slasher film that likens back to the slasher days of old, albeit with a Groundhog Day twist.
While neither boring or a laugh-riot, Crash Pad is a perfectly fine and forgettable way to pass ninety minutes.
Tom of Finland feels like two disparate films brought together, and only Pekka Strang’s strong performance saves it from being a total wash.
An Inconvenient Sequel may struggle narratively, but its message about coming together to battle climate change is as important as ever.
The Chilean drama A Fantastic Woman beautifully captures the story of a transgender woman, who is brought to exquisite life by Daniela Vega.
The Meyerowitz Stories may be a typical satire for Noah Baumbach, but the character of Danny, warmly played by Adam Sandler, helps to raise it.
The Snowman, though with talent behind its production, ended up being an unfortunately jumbled and incoherent mess of a film.
The Bachelors is a scarcity of a film, one that transcends several genres to create an affecting orotundity through its singular voice.
In this final report, the Film Inquiry team sums up their last film-watching experiences of the BFI London Film Festival.
Will You Be My Witness? proves to be an enjoyable slice of entertainment with a deeper message, suitable for all fans of the pop performer.
Like Armando Iannucci’s other work, The Death of Stalin is a reliably funny romp—it’s just not going to be seen as one of his best efforts.
THE PARTY: This One’s Got My Vote
The Party is an example of well-structured storytelling that relies on clever narrative structures, witty dialogue and a sparkling cast.