Summer in February
Jonathan Smith presents SUMMER IN FEBRUARY, based on his own original novel. “A triumph of antiquated posturing and quite unimaginative storytelling,” writes Ed Frost.
Jonathan Smith presents SUMMER IN FEBRUARY, based on his own original novel. “A triumph of antiquated posturing and quite unimaginative storytelling,” writes Ed Frost.
HITCHCOCK and THE GIRL use cinema to simultaneously observe and attack Hitch whilst airing the dirty laundry of a man who can no longer answer back, writes Ed Frost.
Part 2 of TWILIGHT: BREAKING DAWN embraces wholeheartedly the absurdities for which the series has become particularly emblematic, writes Ed Frost.
Peer pressure and teenage bullying have rarely been as agonising and intensely distressing as they are in Michel Franco’s latest, AFTER LUCIA. Ed Frost reviews at the London Film Festival.
Ed Frost, at the London Film Festival, reviews EVERYDAY – Michael Winterbottom’s latest feature; a project elegantly pieced together and filmed over the space of five years.
CELESTE AND JESSE FOREVER is a shrewd, likeable and well-meaning indie that couples sympathetic performances with fine writing and sincere humour, writes Ed Frost at the London Film Festival.
THE WE AND THE I is the latest offering from distinctive French director Michel Gondry, and is the finest he has been since THE ETERNAL SUNSHINE OF THE SPOTLESS MIND, writes Ed Frost at London Film Festival.
With THE HUNT, Thomas Vinterberg has created a masterful film full of emotional nuance and heartbreaking tension, writes Ed Frost at the London Film Festival.
ROBOT AND FRANK is a dutiful shot in the arm to science fiction, calmly addressing a range of prescient topics without flashy aesthetics, writes Ed Frost at the London Film Festival.
The BFI London Film Festival kicks off today, Ed Frost takes a short look at what is in store until October 21st. Check in with TAKE ONE for reviews of films screening at the festival.