Film Reviews
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Inside Llewyn Davis (Joel and Ethan Coen)
Featuring the profoundly committed performance of Oscar Isaac, the film soundly depicts a fringe character's relationship to lady luck.
Grant Phipps gets... -
Stories We Tell (Sarah Polley)
Sarah Polley's grasp continues to equal her reach.
Alan Shulman reviews -
A Field In England (Ben Wheatley)
Ben Wheatley consistently pleased both critics and audiences with his two previous films Kill List and Sightseers, can he pull off a hat-trick with A Field In England?
Andrew Ciraulo is currently lost in the English countryside in a dissociative state... -
Like Someone In Love (Abbas Kiarostami)
Companion to his previous feature, Certified Copy, Kiarostami's latest cinematic puzzle assembles atypical psychological unease through variable character roles.
Grant Phipps is feeling... -
Gravity (Alfonso Cuarón)
Revolving around a familiar disaster scenario, the film puts on a splendid show in telling a trite tale.
Grant Phipps has a bad feeling about this... -
Vanishing Waves (Kristina Buožytė and Bruno Samper)
The seductive and surreal sci-fi thriller explores sexual desire facilitated through technology and the interaction of mental architecture.
Grant Phipps becomes awashed in... -
The Act of Killing (Joshua Oppenheimer)
Offbeat and narratively surreal, this intricate and challenging documentary concerns humanistic versus depraved perceptions in the postmodern world.
Grant Phipps witnesses... -
The World's End (Edgar Wright)
Edgar Wright's previous Cornetto films Shaun Of The Dead and Hot Fuzz are a masterful blend of tried and true genre film-making with a self-reflexive and heavily-stylized twist. They're fun without being dumb, funny without losing focus on plot, and heartfelt without being overly sappy. But can The World's End round out the trilogy in a similar fashion?
Andrew Ciraulo has always been partial to mint chocolate chip Cornetto... -
Only God Forgives (Nicolas Winding Refn)
They booed it at Cannes. Do you need any other reason to see it?
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Stoker (Park Chan-wook)
Romanticizing style over credible content, the film never truly defines itself or its supposed star.
Grant Phipps disturbs the family...
