When Petzold shows the broken mending again, the magic of cinema becomes the subject

~ Anne-Katrin Titze -

When Petzold shows the broken mending again, the magic of cinema becomes the subject

~ Anne-Katrin Titze -

This is a sensuous plunge into a world that's built on simple pleasures.

~ Amber Wilkinson -

This is a sensuous plunge into a world that's built on simple pleasures.

~ Amber Wilkinson -

The scoring from Alejandro Otaola reinforces the otherworldly elements but the action feels underpowered by comparison.

~ Amber Wilkinson -

The scoring from Alejandro Otaola reinforces the otherworldly elements but the action feels underpowered by comparison.

~ Amber Wilkinson -

Bradley’s direction emphasises the beauty of the Rich family’s resilience and humanity, with shots that carry the panoramic vistas of French New Wave and the hypnotic tones of underground cinema.

~ Stephanie Brown -

Bradley’s direction emphasises the beauty of the Rich family’s resilience and humanity, with shots that carry the panoramic vistas of French New Wave and the hypnotic tones of underground cinema.

~ Stephanie Brown -

We start with men getting on horses. More than 36 of them.

~ Anne-Katrin Titze -

We start with men getting on horses. More than 36 of them.

~ Anne-Katrin Titze -

It is comforting to keep in mind that the devil cannot cross your threshold without an invitation.

~ Anne-Katrin Titze -

It is comforting to keep in mind that the devil cannot cross your threshold without an invitation.

~ Anne-Katrin Titze -

Each scene builds on the next to illuminate the specifics as well as the universal quality of experiences.

~ Anne-Katrin Titze -

Each scene builds on the next to illuminate the specifics as well as the universal quality of experiences.

~ Anne-Katrin Titze -

We lack emotional investment in the underlying situation, possibly because Coppola is aiming to play almost everything for laughs.

~ Amber Wilkinson -

We lack emotional investment in the underlying situation, possibly because Coppola is aiming to play almost everything for laughs.

~ Amber Wilkinson -

Rosi’s camera lets the light and the landscapes, the shattered houses and the fractured humanity speak for themselves.

~ Anne-Katrin Titze -

Rosi’s camera lets the light and the landscapes, the shattered houses and the fractured humanity speak for themselves.

~ Anne-Katrin Titze -

What worked so well in The Rider, namely that people were playing versions of themselves, falls flat because of the casting of McDormand in the lead.

~ Anne-Katrin Titze -

What worked so well in The Rider, namely that people were playing versions of themselves, falls flat because of the casting of McDormand in the lead.

~ Anne-Katrin Titze -

Everything here is wrapped in layers of fiction.

~ Jennie Kermode -

Everything here is wrapped in layers of fiction.

~ Jennie Kermode -

William Klein’s incomparable documentary is much more than a boxing film.

~ Anne-Katrin Titze -

William Klein’s incomparable documentary is much more than a boxing film.

~ Anne-Katrin Titze -

Pollard casts fresh light on the Bureau’s attempts to discredit King as a threat to the American social order as well as the organisation’s inner workings.

~ Sunil Chauhan -

Pollard casts fresh light on the Bureau’s attempts to discredit King as a threat to the American social order as well as the organisation’s inner workings.

~ Sunil Chauhan -

The ease with which McQueen shifts the tone from very serious argument to light-hearted banter is sterling.

~ Anne-Katrin Titze -

The ease with which McQueen shifts the tone from very serious argument to light-hearted banter is sterling.

~ Anne-Katrin Titze -

There is more substance of thought in one minute of this film than most movies are able to produce in an hour.

~ Anne-Katrin Titze -

There is more substance of thought in one minute of this film than most movies are able to produce in an hour.

~ Anne-Katrin Titze -

The choreography by Coral Messam showcases the garments and limbs in movement.

~ Anne-Katrin Titze -

The choreography by Coral Messam showcases the garments and limbs in movement.

~ Anne-Katrin Titze -

The film is so subtle and slow and internalised that it crystalises into a thing of beauty.

~ Angus Wolfe Murray -

The film is so subtle and slow and internalised that it crystalises into a thing of beauty.

~ Angus Wolfe Murray -

If you have a passion for architecture - and especially for interiors - you'll find that sufficient reason to watch this in itself.

~ Jennie Kermode -

If you have a passion for architecture - and especially for interiors - you'll find that sufficient reason to watch this in itself.

~ Jennie Kermode -

When Almodóvar has the protagonist talk about kitchen knives and their temptation, all I could think of was the brand of knife he might choose to showcase.

~ Anne-Katrin Titze -

When Almodóvar has the protagonist talk about kitchen knives and their temptation, all I could think of was the brand of knife he might choose to showcase.

~ Anne-Katrin Titze -

In the Seventies, films like this had the status of arthouse. Now that CGI is sexier than life and you are only a multiplex away from Action City, they look like leftovers from an intellectual’s doodle.

~ Angus Wolfe Murray -

In the Seventies, films like this had the status of arthouse. Now that CGI is sexier than life and you are only a multiplex away from Action City, they look like leftovers from an intellectual’s doodle.

~ Angus Wolfe Murray -

The language captured here speaks volumes. The animals’ faces, their reactions and movements, remind doubters of their sentient nature in every shot.

~ Anne-Katrin Titze -

The language captured here speaks volumes. The animals’ faces, their reactions and movements, remind doubters of their sentient nature in every shot.

~ Anne-Katrin Titze -

Pfeiffer’s delivery is fantastically inscrutable.

~ Anne-Katrin Titze -

Pfeiffer’s delivery is fantastically inscrutable.

~ Anne-Katrin Titze -

We are given time, which is wonderful, to count and study the painted ceiling fans and observe the hand-movements of the attentive music listeners.

~ Anne-Katrin Titze -

We are given time, which is wonderful, to count and study the painted ceiling fans and observe the hand-movements of the attentive music listeners.

~ Anne-Katrin Titze -

Lee is inventive in his shooting - particularly in his use of an aerial camera above the stage and another that lurks at the back at barefoot level, both capturing elements of the performance that an audience on the night would not be able to see.

~ Amber Wilkinson -

Lee is inventive in his shooting - particularly in his use of an aerial camera above the stage and another that lurks at the back at barefoot level, both capturing elements of the performance that an audience on the night would not be able to see.

~ Amber Wilkinson -

The drab decay, no less moral than material, of both Karrer and the town that he haunts is so beautifully composed that no cinephile will begrudge Tarr the occasional longueur.

~ Anton Bitel -

The drab decay, no less moral than material, of both Karrer and the town that he haunts is so beautifully composed that no cinephile will begrudge Tarr the occasional longueur.

~ Anton Bitel -

Wiseman has stuck around to the point where people forget that he's there, so we see people as they habitually present themselves to one another, rather than more self-conscious performances.

~ Jennie Kermode -

Wiseman has stuck around to the point where people forget that he's there, so we see people as they habitually present themselves to one another, rather than more self-conscious performances.

~ Jennie Kermode -

The real-life clumsiness, the awkward pauses in human interactions are captured attentively; these are the most precise moments of the film.

~ Anne-Katrin Titze -

The real-life clumsiness, the awkward pauses in human interactions are captured attentively; these are the most precise moments of the film.

~ Anne-Katrin Titze -

The lengths of time the shots last and the camera angles that hide more context than they reveal are what formally is most striking about Beginning. But it is the story that sticks with you.

~ Anne-Katrin Titze -

The lengths of time the shots last and the camera angles that hide more context than they reveal are what formally is most striking about Beginning. But it is the story that sticks with you.

~ Anne-Katrin Titze -

If you've been confused by what you've seen of US politics recently and are looking to learn more about it, this is a great place to start.

~ Jennie Kermode -

If you've been confused by what you've seen of US politics recently and are looking to learn more about it, this is a great place to start.

~ Jennie Kermode -

There’s a genuine unpredictability to Honey Bunch, both structurally and thematically.

~ Jennie Kermode -

Where the episodes work is when they have a driving, kinetic energy about them. When they don't it's repetitious loop.

~ Donald Munro -

The film, directed by feature debutant Shaun Dozier, retains the density of dialogue you might expect from a stage play but, by leaning into the theatrical nature of the proceedings, Dozier is in some ways able to make this into a virtue.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

Coogan is well cast in this tricky role, moving easily from humour to heartbreak..

~ Jennie Kermode -

Manizha Bakhtari may not be a household name but after watching Natalie Halla’s documentary you’re likely to think she ought to be.

~ Amber Wilkinson -

Sung’s own camera plays tricks, placing objects too close in the foreground so that parts of an image are out of focus, like an incomplete memory.

~ Jennie Kermode -

The concept, narrative, dialogue, cinematography and action sequences are elements of Scanners that can't be faulted.

~ Donald Munro -

The film hangs on Pemberton’s performance, and he imbues Doug with a sweetness that makes us feel for him despite his deeply misguided actions.

~ Jennie Kermode -

The screenplay written by the filmmaker and Andrea Piva is a proper masterwork, from the basic plotting to the intelligent, insightful dialogue.

~ Marko Stojiljkovic -

From the start, there is something different about this film.

~ Jennie Kermode -

Despite the anger at the unfairness of what has gone before, this is ultimately a warm-hearted, life-affirming film.

~ Jennie Kermode -

It is a ride, okay, and it is a bit nauseating and therefore not sterile.

~ Marko Stojiljkovic -

It’s also striking to think that when Leila is looking forward into the future, she is already, in some senses, looking at our recent past, which only reinforces the sense of the cyclical and ongoing nature of her themes.

~ Amber Wilkinson -

Thorne still comes across as being at the stage where many aspects of her work are experimental. She’s yet to settle into her style.

~ Jennie Kermode -

The characters work well...but there’s never quite enough energy to events.

~ Jennie Kermode -

Ahmed doesn’t need to include war footage for us to feel its weight and understand its shadow.

~ Amber Wilkinson -

The colour elements prove all the more striking when in contrast to black and white.

~ Amber Wilkinson -

The beautiful cinematography, the bluesy jazz score and the gentle pace of the film are beguiling, but Masciari makes sure that we don’t lose sight of the ridiculous.

~ Jennie Kermode -

Shot over 17 years, it mingles intimate personal moments with visceral concert footage, its musical sequences knitted together with some of the best editing you’re likely to see this year.

~ Jennie Kermode -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

~ Jennie Kermode -

[Hart] doesn’t turn up the volume, but uses tone and repetition so effectively that the film becomes a microcosm of the real experience.

~ Jennie Kermode -

Once again, Guiraudie proves himself the master of setting up a mystery by the means of perfect script economy that functions strictly on “need to know” basis.

~ Marko Stojiljkovic -

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

~ Amber Wilkinson -