Most Recent. In Venice.


Venice 2019: Saturday Fiction review

★★★★☆ Suzhou River director Lou Ye’s wartime espionage thriller Saturday Fiction starts as a mysterious murky mess and resolves itself into a bullet-riddled noir. We first meet Jean Yu (Gong Li) in Shanghai circa 1937 as she is rehearsing a play with director/lead actor Tan Na (Mark Chao).

Venice 2019: The Domain review

★★★★☆ Tiago Guedes’ latest offering The Domain dissects a wealthy Portuguese family in the second half of the 20th century as a libertarian young patriarch struggles with duty, family, politics and his own personal destructive freedom.

Venice 2019: The King review

★★★☆☆ “All hail the king,” proclaim the posters dotted around the Venice Lido. The story of Henry V gets a revisionist, Netflix-backed interpretation from Animal Kingdom director David Michôd as a floppy-haired Timothée Chalamet goes boldly into the breach once more in Venice out-of-competition offering The King.

Venice 2019: The Laundromat review

★★★☆☆ Do you remember when Steven Soderbergh retired from filmmaking? That was approximately five films and two television series ago. There’s a looseness to his new Netflix-bound Panama Papers takedown The Laundromat that, for both better or worse, smacks of an OAP not giving a tinker’s cuss.

Venice 2019: Ema review

★★★☆☆ Ema (Mariana Di Girólamo) is a young dancer with a Daenerys Targaryen bleach job and a love of Reggaeton. She’s also a bit of a pyromaniac. The first shot we see in Pablo Larraín’s new film Ema is of a stoplight burning, set on fire by Ema with her flamethrower.

Venice 2019: An Officer and a Spy review

★★★☆☆ The Dreyfus Affair is chronicled as a turn of the century espionage thriller worthy of le Carré in Roman Polanski’s An Officer and a Spy. There was a good chance that his film could have been withdrawn after the jury head Lucrecia Martel shared her dissatisfaction at the film being included in the competition.

Venice 2018: Vox Lux review

★★★★★ We’ve already had A Star Is Born here at Venice. Now, with Brady Corbet’s latest film Vox Lux, we have A Star Is Torn – a truly unique power-pop epic starring Natalie Portman as the mononymous singer Celeste, whose rise...

Venice 2018: Dragged Across Concrete review

★★☆☆☆ S. Craig Zahler falls between ever-widening stools with his brutal new crime drama Dragged Across Concrete, which might have been more representative of the viewing experience had it been called Dragged Slowly Across Concrete. Recently-released criminal Henry Johns (Tory Kittles)...

Venice 2018: Suspiria review

★★★★☆ Call Me By Your Name director Luca Guadagnino doesn’t so much remake Dario Argento’s Suspiria as use the influential Italian horror movie as an incantation with which to weave his own brand of red-black magic. Berlin, 1977. The Wall...

Venice 2018: The Mountain review

★★★☆☆ A troubled young man goes on tour with a renowned lobotomist in Rick Alverson’s wintry new work The Mountain, showing in competition at the 75th edition of the Venice International Film Festival. Andy (Tye Sheridan) lives with his father (Udo...