Mother!

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A face in the flames, a red veined glass ingot and a rotting house on the brink of collapse. Aronofsky’s MOTHER! begins as it ends, writes John Cheshire.


The Big Sick

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The Big Sick lures audiences in with gooey, romantic squishiness – before delving into more serious (but still hilarious) territory, writes April McIntyre.


My Cousin Rachel

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The new MY COUSIN RACHEL adaptation is a competent melodrama, but one that never sinks its hooks in deep enough, writes Roshan Matharu.


El Hombre Que Cuida (The Caretaker)

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A dark story in a beautiful setting, Mike Boyd finds EL HOMBRE QUE CUIDA unsettling but highly engaging, at the Durban International Film Festival.


Kati Kati

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An extraordinary work of film art, using classic techniques to tell a beautiful and thought-provoking story, says Mike Boyd at the Durban International Film Festival.


Liyana

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An inspirational tale of a group of children brought together by a fictional character, showing the power of storytelling, says Mike Boyd at the Durban International Film Festival.


Inxeba (The Wound)

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A brave and fascinating film that tackles a culturally sensitive subject, concludes Mike Boyd at the Durban International Film Festival.


Papeli (Butterfly)

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This beautiful, slow-moving meditation on rural family life in Iran is stunningly photographed, says Mike Boyd at the Durban International Film Festival.


The African Who Wanted to Fly

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An extraordinary tale of a Gabonese martial arts champion, told with warmth and humour, says Mike Boyd from the Durban International Film Festival.


It Comes At Night

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Trey Edwards Shults offers an unnerving study into the inner workings of human emotion, American paranoia, and family.


Song To Song

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Although beautiful, Terrence Malick’s ethereal and dreamlike approach to storytelling may finally be wearing a little thin, gripes Jim Ross at the Edinburgh Film Festival.


A Quiet Heart

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A QUIET HEART weaves an engaging personal tale into a landscape of religious tension, writes Jim Ross from Edinburgh Film Festival.


Romans

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A film that presses on raw nerve endings, Jim Ross reviews the story of a man coming to terms with childhood abuse, boasting perhaps Orlando Bloom’s paramount performance.


Baby Driver

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With its central story of loss, family and idealistic romance, BABY DRIVER functions as perfect five-star, popcorn entertainment. This is the Hollywood movie perfected, writes Peter Thompson.


Strange Weather

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By placing her faith in her own direction and characters, and not plot histrionics, Katherine Dieckmann’s intensely personal story feels all the more universal, writes Jim Ross at Edinburgh Film Festival.