crime
A cheeky, old-fashioned return to form, The Gentlemen arrives at the right time in Guy Ritchie’s career.
Netflix’s true crime mini-series The Confession Killer delivers detail after detail in rapid succession in exquisite fashion.
Uncut Gems is powerful, almost masterful filmmaking from Josh and Benny Safdie and features a career-best performance from Adam Sandler.
There are shades of the director’s previous work, but The Irishman is like an amalgamation after decades behind the lens.
For all its faults, Knives Out is a brisk and often engaging film that will provide audiences a moderately enjoyable ride.
Not as impactful or satisfying as its daring predecessor, The End of the F***ing World is not the end of the world, but it’s not a crucial send-off either.
An Elephant Sitting Still exudes so much elegance, frame precision and ingenuity that it is destined to have a place in cinema.
Lorna Codrai looks at why 2006 was the most pivotal year of DiCaprio’s career, a year change him from a Prince to King of the World
Though not a fully-realized film, Motherless Brooklyn shows some promise, with an impressive neo-noir style and an admirable takeaway.
Black And Blue is a surprisingly engaging cop thriller; it has some stellar performances, confident direction, and a sharp story to boot.
Steven Soderbergh is back with The Laundromat, a splashy, star-studded look at the world of obscene wealth and financial wrong-doing.
In his latest report from Film Fest 919, Josh Martin reviews Jojo Rabbit, Motherless Brooklyn and The Report.
Glass Cabin is a delectable little horror short reaching into the depths of the human mind, a mind that cannot be trusted.
Stylish, savage and supremely funny, First Love is the shock of adrenaline the action genre needs and deserves.
While it isn’t a terribly exciting conclusion to a richly-textured saga, it’s the little moments along the way that make El Camino a heartfelt final chapter in a great character’s story.