Richard Ayoade’s THE DOUBLE is one of the most dull, yet unutterably infatuating films Jack McCurdy has watched in a long time.
Led from the front by an astonishing performance from Jack O’Connell, STARRED UP gives the British prison film exactly what it needs: a kick up the arse, writes Gavin Midgley.
UNDER THE SKIN is a curious, disquieting and perplexingly superb piece of guerilla surrealism, writes Jim Ross.
Kim Mordaunt’s THE ROCKET is an adventure set in war-ravaged Laos, seen from a feisty young boy’s point of view. Charming but predictable, writes Emma Wilkinson.
Another year, another Terry Gilliam slice of imaginative dystopian hell: THE ZERO THEOREM still feels a bit humdrum for a director who is a visionary at his best.
THE VOORMAN problem is a well executed short with amusing and engaging lead performances. Jim Ross reviews the 2014 Oscars nominee.
Noel Megahey reviews the relatively simple and heart-warming tales of youthful friendship that form THE STORY OF YONOSUKE
THE GRAND BUDAPEST HOTEL is a delightful chocolate box of a film, with Wes Anderson beginning to show his artistic soul, writes Jim Ross
Janis Klimanovs’ short documentary is an exploration of the nature and endurance of love.
Jarmusch’s spin on the vampire tale manages to breathe life back into the most (un)dead of tropes, writes Jim Moore.
Laced with humanity and softly tragic humour, Spike Jonze’s HER is an emotionally packed film that will tease out pensive moments, writes Jim Ross
THE MONUMENTS MEN, although entertaining in spurts, wastes an excellent premise and extremely talented cast with an uneven tone and script, writes Jim Ross
Neither a complete failure nor entirely successful, ROBOCOP 2.0 scrapes a pass but can’t escape the shadow of its forebear, writes Gavin Midgley.
Although lacking sparks of drama and originality to be burnt into the memory, the positives of OUT OF THE FURNACE marginally outweigh that drawback, writes Jim Ross
Schlesinger’s nuanced, knowing DARLING – screened at Cambridge APH earlier this month – is a great example of British cinematic innovation, writes Sarah McIntosh.