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 AMERICAN HUSTLE is an entertaining and sharp black comedy that rarely sags, writes Jim Ross.
Hiu Chan reports back from Watch Africa, the first African Film Festival in Cardiff – and speaks to festival organiser Fadhili Maghiya.
The quiet drama of THE PATIENCE STONE makes for a powerful viewing experience, writes Amanda Randall.
Steve McQueen’s third feature film is a graphic, mordant adaptation of Solomon Northup’s memoir of slavery, writes Ann Linden.
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.