London Film Festival
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#LFF 2017: The Rider review
★★★★☆ A poetic expression of hopelessness in a land of limited opportunities, Chloé Zhao’s The Rider follows a Bronco-rider from South Dakota as he traverses a fictionalised version of his ill-fated pursuit of a dream that’s galloping away from him.After suffering a near fatal head injury at a rodeo, and learning he might never ride…
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#LFF 2017: The Killing of a Sacred Deer review
★★★★☆ Two years on from The Lobster, pioneering Greek Weird Wave director Yorgos Lanthimos returns to the London Film Festival with his 2017 Palme d’Or nominee The Killing of a Sacred Deer, a dark and twisted psychological thriller set in suburban America. The first sight we see is a beating human heart. It looks nothing…
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#LFF 2017: Journeyman review
★★★☆☆ Few British actors can lay claim to the kind of performance which we have come to expect and appreciate from Paddy Considine. Journeyman, which Considine writes, directs and stars in as champion boxer Matty Burton, is further proof of his impressive versatility.Six years on from the near unanimous praise for his directorial debut Tyrannosaur,…
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#LFF 2017: The Shape of Water review
★★★★☆ Mexican director Guillermo del Toro won his first Golden Lion at this year’s Venice Film Festival with The Shape of Water, a monstrous fairytale about the love between a mute cleaning lady (Sally Hawkins) and a creature from the Black Lagoon.Is anyone making cinema as lusciously beautiful as Guillermo del Toro at the moment?…
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#LFF 2017: Princess Cyd review
★★★★★ Billed as the coming-of-age story of an adolescent American teenage girl, Princess Cyd is so much more. Told with tenderness and a perceptive humanist eye by writer-director Stephen Cone, his latest film is an affecting exploration of loss, love and trauma.Disproving any kind of ludicrous notion that a male director is incapable of crafting…
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#LFF 2017: Mountain review
★★★☆☆ Inexpressibly beautiful, breathtaking yet terrifying images from snow-capped peaks and vertical cliff faces dominate Jennifer Peedom’s latest documentary Mountain, which explores the magnetic pull exercised by these perilously dangerous summits. A meditation on the potential held, respect demanded and inherent risks in scaling such heights is coupled with a swift history of human kind’s…
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#LFF 2017: Let the Corpses Tan review
★★★★☆ Moving away from the febrile world of 1970s Italian horror to that decade’s Euro crime dramas, Belgium-based duo Hélène Cattet and Bruno Forzani have crafted yet another deliriously frenetic, blood-soaked homage to cult cinema of yesteryear.Working from a pulp fiction novel by Jean-Patrick Manchette and Jean-Pierre Bastid, Let the Corpses Tan drops the audience…
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#LFF 2017: Hagazussa: A Heathen’s Curse review
★★★★☆ The hills are alive with the sound of Satan in Lukas Feigelfeld’s outstanding debut feature. Set in 15th century Austria, high in the Alps, the film details the mental disintegration of a twentysomething milkmaid who lives alone in a cabin in the woods.Hagazussa: A Heathen’s Curse will most likely be pegged as this year’s…
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#LFF 2017: The Final Year review
★★★★☆ Chronicling the last twelve months of Barack Obama’s tenure, Greg Barker’s The Final Year is an intimate, earnest and insightful expose of the key players of his departing administration and the legacy left in his wake as the world enters the Trump era.From charting the day-to-day workings of Obama’s close-knit team of advisers as…
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#LFF 2017: Journey’s End review
★★★★☆ Opening in 1928, R.C. Sherriff’s play Journey’s End depicted the tragic futility of the Great War through the metaphor of lost youth. British director Saul Dibb’s adaptation, in cinemas this week, is a timely reminder of the true cost of the conflict. Asserting his status as a serious young talent, Asa Butterfield ably leads the…