drama
Above all, Pedro Almódovar’s latest film Pain and Glory is a semi-autobiographical trilogy and a love letter to cinema.
Don’t Let Go sounds clever and mystical, but it’s a time-consuming thriller with alluring configuration and very little payoff.
I Trapped the Devil ultimately has just enough meat on its bones to stick with viewers willing to plunge into its grim, nightmarish world.
Céline Sciamma’s tender masterpiece paints a portrait of visual poetry, of what happens when art intersects with love for a fragment of time.
Boys Don’t Cry celebrates its 20th anniversary this year. Emily Wheeler examines its difficult past and troubling legacy
Mirrah Foulkes’ folk tale of misogyny in the Middle Ages, Judy & Punch, is sometimes mischievous and sometimes utterly volatile, but never formulaic.
Season 2 of Titans starts off on a messy but promising foot that does more to excite fans for future episodes than work as a spectacular conclusion for its previous arc.
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.
Between a disorganized format, poor storytelling choices, and novice performances, we condemn 47 Meters Down: Uncaged to the chum bucket.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Monos isn’t simply a film you watch, it’s an unflinching descent into chaos in the best way possible, haunting you long after the film has ended.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.