Assassination Nation is unabashedly intense – and this is both its strength and downfall; the factor that could either draw you in or put you off.
A dishevelled American flag lightly sways in the breeze over a post-apocalyptic village scene, situated along the Hudson River.
Set six months after the previous Fantastic Beasts film, the audience is quickly thrust into the action with the introduction of Grindelwald.
Dead in a week (or your money back) is set against the grey streets of South London, where our lead William (Aneurin Barnard) aims to kill himself.
After over-dosing on bucket loads of candy coupled with a fair few pints of beer at the Halloween (2018) inspired press screening of its latest instalment, I was hoping my intoxication would help take the edge off a bit.
A film starring Lady Gaga is bound to generate some hype around a movie, as is currently the case with ‘A Star Is Born’ a befitting role as singer-songwriter Ally who meets and falls in love with troubled, alcoholic country star Jackson Maine played by Bradley Cooper, who also directs in possibly a career best.
Coming out though documentary purveyors Dogwoof the documentary Matangi/ Maya/ MIA details the life of singer, artist, activist’s Mathangi “Maya” Arulpragasam colourful if tumultuous journey from refugee to pop stardom.
Following the recent trend set by Gone Girl in 2014, to have a mystery around the plot of a missing woman case, A Simple Favour sets itself apart by leaning into the comedy and dark humour that its’ leads Anna Kendrick and Blake Lively excel at.
Described by its own director as influenced by Ken Russell’s infamous The Devils (1971), Gaspar Noe’s Climax (2018) is exemplarily of what makes the director such a controversially perceived director; sex, drugs, evocative images.
You know those kinds of movies where you become acquainted with strangers sitting around you, because no one can help but gasp aloud or keep words from escaping their mouths? Introducing,Where Hands Touch by writer and director Amma Asante.
Idris Elba’s solid directorial debut shows he should probably direct as well as star in the next Bond.
Director Pawel Pawlowski is Poland’s first ever Oscar winner for his eerily mesmerising road movie Ida.
Konstantin Stanislavski’s production of Anton Chekhov’s The Seagull at the Moscow Art Theatre in 1898 is one of the most important events in theatre history.
Based on the novel of the same name, director Desiree Akhavan brings a startling coming-of-age story to life, set in an early 90s gay conversion camp, the second film this year to tackle the injustice (Boy Erased comes out later this year).
If I’m critical of Journeyman, Paddy Considine’s sophomore directing effort, then it’s because I expect more from him.
Casting is a German indie that we stumbled across at this year’s LFF and were pleasantly surprised.
Clio Barnard’s follow-up to 2013’s brilliant The Selfish Giant is another Yorkshire-set drama but a wholly different beast.
Jean-Luc Godard has called this – an account of his marriage to Anne Wiazemsky, based on her autobiographical novel, Un an après – a “stupid, stupid idea.
Apostasy, a moving drama about the Christian sect Jehovah’s Witness, proved a highlight for me at this year’s LFF.
The feature début from British director Michael Pearce is a thriller that relies – perhaps unusually – very heavily on emotion.