Ghost Elephants – first-look review
There are certain filmmakers where each utterance becomes a gravitational pull, and Werner Herzog – charming anticonformist, profound depictor of hubris,
Jay Kelly – first-look review
While Kelly reckons with his own personal failings – occasionally detailed in flashbacks filling out his path to stardom –
Bugonia – first-look review | Little White Lies
Although Lanthimos has moved away from the stilted hyper-stylised hallmarks which announced him to the filmmaking world at large, his
La Grazia – first-look review
There was a time in the mid-00s when the prospect of a new film by Italy’s newest favourite son, Paolo Sorrentino, was
Little Trouble Girls review – profoundly sensuous…
It feels churlish to complain about the queer coming of age drama, especially when such films originate from countries that
Orphan – first-look review | Little White Lies
In the closing credits of Orphan, cinematographer Mátyás Erdély receives billing before the screenwriters. While unconventional, this order aligns with the
La Grazia – first-look review
There was a time in the mid-00s when the prospect of a new film by Italy’s newest favourite son, Paolo Sorrentino, was
Sex and the City 2 and the end of America
A purer cinema of excess has yet to be made. In classic sequel fashion everything here needs to be bigger,
On Swift Horses review – no wheel reinvention to…
It is hard to watch On Swift Horses without cynically regarding it as Jacob Elordi’s inevitable gay-for-pay moment. For every up-and-coming
Caught Stealing review – Darren Aronofsky gets…
It feels too easy to say Darren Aronofsky is the one who gets caught stealing in his latest directorial outing,