★★★☆☆ It’s 1918, and the elderly woman that terrorised the screaming youths of X is still a tender young thing, stuck on her parents’ farm and dreaming of a life of stardom in faraway Hollywood. How far removed from that wizened psychotic killer this cherubic vision now stands.
★★★★☆ There is tragedy and there is comedy, but the hinterland has never really received a proper definition. Melodrama suggests histrionics and musical accompaniment milking the emotional teat. Drama is too broad. And anyone who suggests “dramedy” should be punished. It would be “dramedic”.
★★★★☆ One year on from the events of the previous franchise entry, Ghostface is up to their old tricks again, slicing and dicing their way through a new batch of shrieking victims, the action now shifted to New York. With the new generation of Screamers now firmly installed, headed by the Carpenter sisters Sam and Tara (Melissa Barrera, Jenna Ortega), can the ghost(face)s of the past be laid to rest?
★★★☆☆ His heavyweight champion status secured, the now-retired Adonis Creed (Michael B. Jordan) spends his days lounging around his Hollywood mansion, having tea parties with daughter Amara (Mila Davis-Kent) and running his gym with coach Little Duke (Wood Harris). But when a long-forgotten figure from Adonis’ past returns, his future is thrown into question.
★★★★★ Léo (Eden Dambrine) and Remi (Gustav De Waele) are best friends. At 13, they are intelligent and autonomous enough to be allowed a certain freedom, but still full of the childish and spontaneous joy of being and imagining. They pretend villains are attacking the castle, run through the flower fields, and have so many sleepovers together that Leo’s mum wonders aloud if he’ll ever come home.
★★★☆☆ “Family isn’t a word…it’s a sentence”. So ran the tagline to The Royal Tenenbaums. For Hirokazu Kore-eda it could be argued that it’s a whole career. From Still Walking to the Palme d’Or-winning Shoplifters, the Japanese auteur has spent the greater part of his career delineating the lines of attraction and repulsion, the dynamics of duty and care that make up families – both real and alternative.
★★★☆☆ It’s 1918, and the elderly woman that terrorised the screaming youths of X is still a tender young thing, stuck on her parents’ farm and dreaming of a life of stardom in faraway Hollywood. How far removed from that wizened psychotic killer this cherubic vision now stands.
★★★★☆ There is tragedy and there is comedy, but the hinterland has never really received a proper definition. Melodrama suggests histrionics and musical accompaniment milking the emotional teat. Drama is too broad. And anyone who suggests “dramedy” should be punished. It would be “dramedic”.
The winners of this year’s 95th Academy Awards were announced earlier this morning at LA’s Dolby Theatre. The Daniels’ Everything Everywhere All at Once was the big winner on the night, scooping seven Oscars in total including Best Picture, Best Director and Best Actress for Michelle Yeoh.
More than twelve months after “the slap”, the 95th Academy Awards are almost upon us. The recent success of Parasite and Drive My Car appears to have opened the door for more international features to break through into the main categories, with Netflix’s All Quiet on the Western Front up for Best Picture, Best Director and seven further categories.
★★★☆☆ Set 45,000 years ago, when Homo sapiens were making incursions into the lands of the Neanderthals, Andrew Cumming’s horror thriller The Origin depicts a small tribe coming up against a malefic entity in unknown and inhospitable environs.
★★★★★ Saela Davis and Anna Rose Holmer are a little-known writing and directing partnership based in Brooklyn, New York. But their standing is due a considerable elevation on the strength of God’s Creatures, a film that wields its simple premise with devastating impact.
★★★★☆ One year on from the events of the previous franchise entry, Ghostface is up to their old tricks again, slicing and dicing their way through a new batch of shrieking victims, the action now shifted to New York. With the new generation of Screamers now firmly installed, headed by the Carpenter sisters Sam and Tara (Melissa Barrera, Jenna Ortega), can the ghost(face)s of the past be laid to rest?
★★★☆☆ His heavyweight champion status secured, the now-retired Adonis Creed (Michael B. Jordan) spends his days lounging around his Hollywood mansion, having tea parties with daughter Amara (Mila Davis-Kent) and running his gym with coach Little Duke (Wood Harris). But when a long-forgotten figure from Adonis’ past returns, his future is thrown into question.
There is much debate about what characterises an independent film, but, in general, it is a work without interference from major studios, from pre-production to production itself. In this sense, an independent film is not made without money – this is, in short, a characteristic of guerrilla cinema –but one in which the team runs after funding, and there is no industry investing in its making.
★★★★★ Léo (Eden Dambrine) and Remi (Gustav De Waele) are best friends. At 13, they are intelligent and autonomous enough to be allowed a certain freedom, but still full of the childish and spontaneous joy of being and imagining. They pretend villains are attacking the castle, run through the flower fields, and have so many sleepovers together that Leo’s mum wonders aloud if he’ll ever come home.
The winners of this year’s EE British Academy Film Awards were announced yesterday at the ceremony’s new home, London’s Royal Festival Hall. Edward Berger’s All Quiet on the Western Front, which went into the awards with the most nominations, won both Best Film and Best Director for Netflix.
★★★☆☆ “Family isn’t a word…it’s a sentence”. So ran the tagline to The Royal Tenenbaums. For Hirokazu Kore-eda it could be argued that it’s a whole career. From Still Walking to the Palme d’Or-winning Shoplifters, the Japanese auteur has spent the greater part of his career delineating the lines of attraction and repulsion, the dynamics of duty and care that make up families – both real and alternative.
★★★☆☆ Ant-Man’s (Paul Rudd) third standalone outing confirms his status as among the Marvel machine’s most reliably entertaining, if middling, product lines. Ant-Man and The Wasp: Quantumania may be lacking in any discernible drama or emotional stakes but it is easily one of the most solidly entertaining and spectacular of Marvel’s ‘Phase 4’ run of film and television.
If you love a good gambling movie, you probably have already seen the major old classics. Many of these are cult classics by now. But did you know that there are actually also several great newer casino movies worth a watch? Check out the top three here.