The novelty of venerated stars using swear words and subverting their reputation as treasured thespians glosses over a thin premise in Dustin Hoffman’s directorial debut, writes Ed Frost.
Despite the warmth generated by the leads, UNTOUCHABLE is an asinine and cloying film full of cliches and irritating stereotypes, writes Jim Ross.
Sally Potter’s GINGER & ROSA uses the unease of the Cuban Missile Crisis as a metaphor for the frantic disillusionment two young girls face in this emotionally charged adolescent drama.
Flowing and mysterious, whilst never lowering itself to cliché or offering easy answers to its protagonist’s reintegration with life and love, FRANCINE excels by doing very little, writes Ed Frost.
With RUST AND BONE, Jacque Audiard journeys further into the inner workings of damaged souls, writes Edward Frost at the London Film Festival.
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.