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.
Matthew McConaughey is completely believable as the arrogantly intolerant, coke snorting, Texan shag-monster in DALLAS BUYERS CLUB, writes Liam Jack.
Piracy threatens the outcome of an independent cinema in this quirky and eccentric short comedy from Cambridge student Camila Kater.
August: Osage County, adapted by Tyler Letts from his Pulitzer-winning play, retains a vivid theatricality in its new cinematic setting.
Martin Scorsese’s film struggles with the contradictions of its source material despite a nuanced performance from Leonardo DiCaprio, writes Robbie Griffiths.
After a shaky start, THE RAILWAY MAN emerges as a modestly moving portrayal of trauma and unlikely reconciliation, writes Gavin Midgley.
David O. Russell’s crime caper is an entertaining and sharp black comedy that rarely sags, writes Jim Ross.
The quiet drama of THE PATIENCE STONE makes for a powerful viewing experience, writes Amanda Randall.
Rosy Hunt reviewed DISTURBIA at Cambridge Film Festival in 2007. Just a quick note to show that we knew a long time ago that Shia LaBoeuf was feeble.
Justin Chadwick’s superficial overview of the late icon’s life fails to do justice to its subject, writes Gavin Midgley.