Altman’s legacy has been done few favours by the documentary made in his name, writes Andrew Nickolds. Better to learn about him from films such as THE LONG GOODBYE.
Vinterberg’s adaptation of the Hardy classic doesn’t quite gel, despite Carey Mulligan’s strong and subtle central performance, writes Andrew Nickolds.
Noah Baumbach’s self-confident latest, after his success with the charming and funny FRANCES HA, has an awful lot going for it.
Maurice Caldera’s latest short has a simple but elegant odd-couple premise, writes Faye Gentile.
Akhavan’s debut is both charming and enjoyable, but certainly benefits from its short run time, writes Harry Jones.
Harry Jones reviews the best short films at the Watersprite Film Festival.
Morality and responsibility intersect in Sunday’s Dusk screenings at The Watersprite Film Festival. Reviewed by Hannah Clarkson.
Hannah Clarkson reviews Watersprite’s Dusk Screenings: Woes & Wrong Doings.
The beautiful LIFE OF RILEY has probably the single most important message that Resnais has to impart through his cinematic output, writes Noel Megahey.
Andreas Dresen’s tale, about a gang of childhood friends growing up in the suburbs of a reunified Germany in the early 90s, stomps and thrashes its way on to the big screen at Berlinale.
Jannik Splidsboel’s documentary, MISFITS, focusses on the challenging lives of three LGBT teenagers who use The Open Arms Youth Centre, Tulsa as their meeting place.
KNIGHT OF CUPS is the seventh film in esteemed director Malick’s formidable cinematic canon, but does it live up to the hype that surrounds it at Berlinale 2015?
“TESTAMENT OF YOUTH pays harrowing tribute to a woman who survived the heartbreak and anguish of a devastating war.” Student writer Lindsey Roberts reviews.
Nobody should be lonely in 2015, with all communication settings firmly flicked to On. All the more horrific when a dead body is found in an empty home, time of death several weeks earlier…
A Farsi translation of Ann Linden’s previously published review. Kindly translated for us by Dr. Nahal Khabbazbashi. اساس و ماهیتِ فیلم دختری شب تنها به خانه می رود به کارگردانی آنا لیلی امیرپور در عنوان آن خلاصه می .شود: بی تکلف، سنجیده و وجد برانگیز. استعاره ای واژگون با ماحصلی شاد و در عین حال [...]