Tenet
TENET ends up something of a Rube Goldberg machine of a film: a wondrously complex set of mechanics that is fascinating, but also an incredibly convoluted way of masking what is, in essence, a thin and poorly executed story.
TENET ends up something of a Rube Goldberg machine of a film: a wondrously complex set of mechanics that is fascinating, but also an incredibly convoluted way of masking what is, in essence, a thin and poorly executed story.
With an impressive cast and a gorgeously bleak southern gothic aesthetic, THE DEVIL ALL THE TIME’s time-hopping, plot-crossing saga is thrilling and gruesome in equal measure, and only slightly hampered by a tendency to meander.
Not once does THE LIGHTHOUSE feel stale, complete with fart jokes, seagull attacks and some hilarious drunken moments. April McIntyre reviews.
THE LIGHTHOUSE is a clear demonstration of Eggers’ directorial skill and of the acting ability of Pattinson and Dafoe. Joe McLauchlan reviews from Cannes 2019.
HIGH LIFE is a story so simple it loops back to the profound and so focused it collapses through the event horizon to feel universal. Jim Ross reviews Claire Denis’s remarkable English-language debut.
With Take One’s time at Cannes nearly done, the team managed to fit in one final red carpet appearance: the latest from acclaimed directing duo Benny & Josh Safdie, GOOD TIME.
Don’t throw stones in a fragile post-WWI European glasshouse! Jack Toye reviews THE CHILDHOOD OF A LEADER at Edinburgh International Film Festival.
Scriptwriter Luke Davies takes a fresh and raw approach to portraying two juxtapositional characters in LIFE, writes Faye Gentile.
David Michôd brings a new dimension to a dystopic genre that has had so much exploration already – think post-apocalyptic OF MICE AND MEN, says Jack McCurdy.
Day 5: In which Jack muses that the breakdown of society would be a terrible and tragic thing… but at least you wouldn’t get jostled in the street by boors with halitosis.