Barbie
From the bright pink Warner Brothers logo to Helen Mirren’s irony-soaked opening voiceover, BARBIE sets itself up as a wildly vibes-based moment of silliness. But the film is so much more than that, and in many ways not even that at all.
From the bright pink Warner Brothers logo to Helen Mirren’s irony-soaked opening voiceover, BARBIE sets itself up as a wildly vibes-based moment of silliness. But the film is so much more than that, and in many ways not even that at all.
Greta Gerwig’s adaptation of Louisa May Alcott’s novel is a moving and fresh tale with an expertly handled tone. Jim Ross reviews.
ISLE OF DOGS doesn’t quite scale Wes Anderson’s recent heights, this engaging stop motion animation and Bryan Cranston’s performance are an absolute joy. Jim Ross reviews at Glasgow Film Festival 2018.
Noah Baumbach’s love letter to New York City is a rare gem on growing up and tragicomedy of it all, writes Lillie Davidson.
SIDE BY SIDE is a fascinating and insightful look at the debates raging in the creative process as the digital revolution continues to evolve, writes Jim Ross.
SIDE BY SIDE is a fascinating new documentary, featuring interviews led by Keanu Reeves, looking at the rise of digital technology in filmmaking. Jim Ross spoke to director Chris Kenneally about the film and the discussion it highlights.
The latest feature from Woody Allen, featuring four separate stories in the Italian capital, will screen on the opening night of the 32nd Cambridge Film Festival. Elizabeth Rogers reviews.
DAMSELS IN DISTRESS is a film that is as innocent as its setting but rarely amounts to anything as good as the sum of its enchanting and amiable parts, says Ed Frost
Director Ti West conjures evil from the shadows of our everyday fears in The House of the Devil and his new release The Innkeepers.