GRASSROOTS glosses over the methodologies of local politics, whilst saying precious little about the story it imbues with tepid dramatic license, writes Edward Frost at London Film Festival.
AMOUR offers evidence that, much like his protagonists, Michael Haneke is growing old gracefully and bringing his unfettered filmmaking along with him. Edward Frost reviews at London Film Festival
WEST OF MEMPHIS is an engrossing depiction of an American phenomenon, where the shocking case of the West Memphis Three is examined by director Amy Berg, writes Ed Frost at London Film Festival.
Delicately and effortlessly directed, WADJDA is an assured and understated gem of a film telling the tale of a ten year old Saudi Arabian girl, writes Edward Frost at London Film Festival.
Sally El Hosaini’s confident debut takes original and tactful steps in a gritty depiction of dangerous games played by two members of an Egyptian family living in Hackney, writes Ed Frost.
Although the remake of PUSHER is a striking visual contrast to the original, nothing on the scale of Winding Refn’s trilogy is ever wholly achieved, writes Joe De-Vine.
Although amiable and lively, SPIKE ISLAND’s evocation of a bygone era resembles music videos at their most flashy and uninvolving, writes Ed Frost at London Film Festival.
Despite its aesthetic qualities and an incredibly honed auteurist signature, Xavier Dolan’s LAURENCE ANYWAYS fails to deliver a worthwhile conclusion , writes Ed Frost at London Film Festival.
SISTER is a straightforward and tender film that depicts a simple tale of survival, and the bonds that tie its protagonists together, writes Ed Frost at the BFI London Film Fest.
Anthony Davis spoke to BFI curator William Fowler, who presented a collection of films by the British artist and eccentric, Bruce Lacey, at the Cambridge Film Festival this year.