Knife and Heart


Set in the aesthetically gorgeous backdrop of Paris’ 1970’s pornography scene, KNIFE AND HEART takes viewers on a murder mystery of melodramatic love and loss.

Under the Silver Lake


UNDER THE SILVER LAKE takes us on a hazy unfamiliar journey where most of the strange occurrences seem possible, writes Juanita Samson.

Ziggy’s Will


Elle Haywood speaks to producer Jared Selcer about ZIGGY’S WILL, a short film screened at this year’s Cannes Film Festival.



Matteo Garone delivers a showpiece of raw gangsterism in the Italian suburbs, and the moral complexities of vengeance in a small town community.

In My Room


Ulrich Köhler’s IN MY ROOM is an inventive and largely compelling take on the ‘last man on earth’ scenario, writes Tina Kendall.

Girls of the Sun


GIRLS OF THE SUN is told from the perspective of Mathilde who is a French journalist writing an article about “the truth” of women fighting ISIS in Kurdistan.

Solo: A Star Wars Story


SOLO has a nice shiny, squeaky Disney feel to it and lacks the rugged authenticity of the other films, writes Elle Haywood at the Cannes Film Festival.

The House That Jack Built


Lars Von Trier delivers another uncomfortable cinematic viewing… Elle Haywood reports back from the Cannes premiere.



BLACKKLANSMAN is an astonishing comeback for Spike Lee, writes Juanita Samson.



Diablo Cody’s third women-in-modern-America story is sharp and comical but ends with a tricksy whiff of Shyamalan, writes Andrew Nickolds.

The Guernsey Literary and Potato Peel Pie Society


Finding romance amid the Nazi ravages of World War 2 is nothing new in the movies, but Guernsey is a long way from Casablanca in every sense.

The Post


Elle Haywood examines why “The Post” is so relevant in today’s contemporary world of journalism and political accountability.

Lawks A Mercy


Andrew Nickolds compares two films on the same subject – the attempted round-the-world voyage by amateur sailor Donald Crowhurst, for which the term ‘ill-fated’ is a grotesque understatement …

Three Billboards Outside Ebbing, Missouri


With THREE BILLBOARDS, McDonagh has reached again for the high bar he’s set himself, writes April McIntyre.

Happy End


Haneke’s mischief-making social satire is reminiscent of late Bunuel, writes Andrew Nickolds.