The last time director Jim Jarmusch and Adam Driver teamed up, the world was blessed with the delightfully poetic and low-key Paterson, which explored themes of life and love through the perspective of a bus driver and his girlfriend.
Director Alfonso Gomez-Rejon finally gets his film released from its initial delay in the wake of the Weinstein scandal.
Celebrating the 50thanniversary of the first lunar landing, is the documentary celebrating the man who took those initial steps, Neil Armstrong.
A disclaimer that this review is coming to you from not the most ardent of the genre’s fan.
Director Max Minghella’s first film is filled with impressive visuals, choreography and camera work; but these are secondary to the on-screen talent who work hard at fleshing out the formulaic plot of this film.
Bait’s hero is a cove fisherman called Martin (Edward Rowe), but everyone from the town calls him Mar – an abbreviation which is unassumingly intimate, like his workaday relationship to the sea.
Legal dramas have the difficult task of cutting down the law into lay-man’s terms, while trying to sound as authoritative as the verbose cases it seeks to emulate.
The Ealing Comedies (1947-1956) are uniquely British in their dark approach to humour, eccentricity and style.
The latest cine-carnation to adopt the theme is (surprisingly) Child’s Play (2019): a remake of director Tom Holland and writer Don Mancini’s cult horror from 1988, fronted by the infamous psycho killer doll, Chucky (voiced by Brad Dourif).
Based on the titular novel by Justin Torres, We The Animals is a story glazed by layers and layers of visual exuberance and social commentary.
Debutant director Hans Petter Moland directs a Hollywood remake of his Norwegian thriller Kraftidioten (2014).
With such a high and intriguing central concept from Danny Boyle (director) and writer Richard Curtis, Yesterday looks set to soar at the box office.
It’s pretty risky business to do a remake, even more so if it’s your own film.
Thunder Road is a brilliant movie, excellent in fact, but one that’s just too difficult to watch.
The London version of Sundance Film Festival was once again upon us for its 7th edition, featuring four days of films from the 30th May to the 2nd of June.
XY Chelsea documentary chooses to portray public figure Chelsea Manning as multitude of things: a soldier, a whistle blower, a prisoner, a trans woman, an activist, a democratic senate candidate, a social media celebrity.
How does one successfully fill the shoes of a ’90s cinematic sex symbol? The answer: Don’t.
Director Dexter Fletcher dishes out the narrative in Rocketman possibly in the way that the real Elton John reflects upon his past, arbitrarily recalling life moments through a hazy lens caused by years of inebriation.
Rather than a hellish vision of drug-addled adolescence, Beautiful Boy is a true-story that sensitively conveys the raw ache of parental love in the face of addiction.
Keanu Reeves returns in another career-defining performance as the slick assassin in John Wick 3.
Madeline’s Madeline has been on my radar since seeing it at the Berlin Film Festival in 2018, a beautiful genre bending movie, which amalgamates storytelling, theatre performance, dance and art to produce an in-depth study of young girl Madeline (played exquisitely by newcomer Helena Howard) who struggles with mental illness.