The Deep House
The Deep House is a tragic and poorly crafted feature that fails on almost every level
LFF 2021: Natural Light
Natural Light provides a strong foundation for director Nagy Dénes' to build from in what looks like a promising career
The United Way
The United Way has its work cut out for it
Bergman Island
Mia Hansen-Løve is an immensely talented filmmaker with plenty to say about being a woman working in a male-dominated industry
The Velvet Underground
The Velvet Underground is the idolisation process, churned out as a particularly rose-tinted spectacle
Paranormal Activity: Next of Kin
Paranormal Activity: Next of Kin will disappoint both newcomers and long term fans of the franchise
Dune
The world of Dune is an incredibly dense and detailed one
Halloween Kills
Halloween Kills is the most subversive entry of the franchise by far
LFF 2021: Cannon Arm and the Arcade Quest
Cannon Arm and the Arcade Quest does a splendid and entertaining job of giving its subject the limelight it deserves
Rise of the Footsoldier: Origins
Rise of the Footsoldier: Origins is both different and refreshing in substance
The Last Duel
The Last Duel is an incredible film in every way imaginable
Intrusion
Intrusion is a flat, hollow, uninspired and genuinely poorly produced feature that is nothing short of a shambles
VIFF 2021: The Beta Test
The Beta Test falls into mundane and rudimentary territory that does not know what to do with its spark
LFF 2021: Mass
If one thing is assured in Fran Kranz's Mass is that it will emotionally destroy the viewer
The French Dispatch
The French Dispatch feels incredibly reductive for Wes Anderson’s filmography
V/H/S/94
V/H/S/94 delivers gore and nastiness for everyone
The Manor
The Manor is a mixed-up nightmare filled with odd intentions and earnest meanings
LFF 2021: Playground ‘Un Monde’
Laura Wandel offers a stirring and utterly perfect venture in her drama Playground
LFF 2021: Wild Indian
Wild Indian is a brooding and meditative portrayal of conscience
VIFF 2021: Miracle ‘Miracol’
Miracle is not the second coming critics wanted, or perhaps Romania needed to kickstart a new wave of cinema