Category: Review
Film Review: Happiest Season (2020)
The Christmas rom-com is a subgenre that’s blended together long enough. With seemingly never-ending Hallmark-centric lists like Christmas movie posters with white heterosexual couples wearing…
Film Review: Mank (2020)
Citizen Kane has long been considered the shining achievement of Orson Welles. With many considering it to be one of the greatest features ever created….
Film Review: One Night in Miami (2020)
Based on a 2013 play of the same name, Regina King‘s first major feature directorial outing One Night in Miami brings the real-life 1964 meeting…
AFI Fest 2020 Review: The Father (2020)
Adapting his own award-winning play of the same name, Florian Zeller crafts a stunning feature directorial debut with The Father. Capturing the horrors of old…
LFF Review: If It Were Love (Patric Chiha)
If It Were Love is filmed theater, and by filmed theater that does not mean the stage, but the process, the transitions, and the trying…
LFF Review: Notturno (Gianfranco Rosi)
Unlike his previous Golden Bear recipient Fire at Sea, supposed Italian master Gianfranco Rosi’s follow-up Notturno feels like a shallow adventure through a war-torn world….
‘Treasures’ Section of the London Film Festival
In addition to the number of exciting new screenings at the BFI London Film Festival this year, are three ‘Treasures’. Meticulous restorations of older works…
LFF Review: Wolfwalkers (Tomm Moore, Ross Stewart)
One can easily imagine the turning heads of Disney and Pixar, for instance, as the batwing doors swing open and a new pretender to the…
LFF Review: After Love (Aleem Khan)
It took me a while to place the faces of actresses Joanna Scanlan and Nathalie Richard as I was immersed in After Love. One of…
Review: The Wolf of Snow Hollow
While it rehashes plenty of tried-and-told horror stories in places, The Wolf of Snow Hollow is commendable for its intense familiarity. The warm Christmas carols,…
LFF Review: Possessor (Brandon Cronenberg)
In a world where the sordid inhumanity of corporate dealings has become literalised in transactions of murder and blood, Tasya Vos (Andrea Riseborough) is a…
LFF Review: Zanka Contact (Ismaël El Iraki)
Zanka Contact is a film deliberately built upon clichés. Its protagonists, Rajaes (Khansa Batma) and Larsen (Ahmed Hammoud) are a prostitute and a faded, drug-addicted guitarist…
LFF Review: David Byrne’s American Utopia (Spike Lee)
I had a few thoughts after the first song of American Utopia finished. The first was a sort of awe at Spike Lee’s direction, which…
LFF Review: Shadow Country / Krajina ve stínu (Bohdan Sláma)
The harrowing, unimaginable consequences of war might well be a sub-genre of its own. Personal trauma, physical injuries, a life-long toll. While fuzzing helicopter propellers…
