From Sick of Myself’s opening scene depicting an awkward birthday dinner, the power dynamic between young couple Signe (Kristine Kujath Thorp) and Erik (Eirik ...
It’s tough when you want to like a film a little more. The idea and spirit is present in Tommy Guns, but an overwhelming air of academicism––something that’s s...
Eternally the rebellious loverboy of the Sarkozy era, Louis Garrel, now at 40, is seemingly easing into an elder statesman role. No longer too brooding a prese...
A thoroughly dull if not totally unpleasant work of nicecore cinema, The Quiet Girl is the case of a film being easy to dismiss but hard to hate. Are the inten...
The key to understanding the new Philip Marlowe film is being aware that it’s not based on an actual novel by Raymond Chandler but a 2014 exercise by Irish mys...
Nowadays it’s rare to see a multiplex movie with so little affect. And arriving in the second week of January as one of the few dumping-ground action programme...
Hou Hsiao-hsien’s Millennium Mambo premiered at the Cannes Film Festival in 2001 to, sadly, so little enthusiasm outside the highbrow crowd that it didn't fina...
“They don’t make the Gladiator/Braveheart-type movies anymore” is the kind of complaint you'll hear when talking about the state of popular cinema, specificall...
“This one’s a little different” is what every critic trots out while reviewing a new Marvel movie, as if they’re not all running the same plays to inevitable e...
You sometimes have to ask yourself why certain films are worthy of a competition slot at a major festival. If a certain set of themes and aesthetics are requir...
