The huge wobbly 3D seal elephants in THE PENGUIN KING 3D, described by great narrator David Attenborough as “blubbery and flatulent creatures”, are worth a watch, says Max Zeh.
The stark camera work in FRANK provides inventiveness, but the attempt to make a hero out of a psychologically unstable young man fails to do little more than make you feel uncomfortable, writes Patrick Fowler.
Welles considered CHIMES AT MIDNIGHT to be his greatest achievement, better even than TOUCH OF EVIL, F FOR FAKE and CITIZEN KANE. Adam Batty reviews.
SALMA & THE APPLE is a strange and beautiful film that rubs up against the contemporary world, and contemporary attitudes in Iran, writes Christopher Stefanowicz.
“Last night I dreamt I went to Manderley again.” Although it was his first American endeavour, Alfred Hitchcock’s adaptation of Daphne du Maurier’s gothic novel REBECCA displays all the masterful touches of his earlier British classics.
The second film to be adapted from Julia Donaldson and Axel Scheffler’s hugely successful Gruffalo book series, THE GRUFFALO’S CHILD is wistfully innocent and fun, says Liam Jack.
Although the filmmaking itself warrants criticism, CAMP 14: TOTAL CONTROL ZONE makes for an incredibly emotive, powerful piece of cinema, writes Dan Harling.
Chris Stefanowicz reviews a truly irreverent documentary. The identical twin Fokkens sisters of Amsterdam’s Red Light District are engaging, witty, completely mad and, most importantly, candid.