Film Reviews
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Pleasures Of The Flesh (Nagisa Oshima)
Prior to the notorious art/porn film In The Realm Of The Senses, Nagisa Oshima already had a lengthy list of credits to his name, including this noir-esque drama.
Dan Schneider senses the emergence of a major Japanese filmmaker... -
The Skin I Live In (Pedro Almodóvar)
The film intrigues and unsettles with its issues of transgenesis, sexual and gender identity, but its themes feel conflicted and lack a penetrating continuity.
Grant Phipps is a bit uneasy with... -
The Hunger Games (Gary Ross)
Conceptually brilliant but can The Hunger Games survive the transformation from page to screen.
Matt Bevington reveals the answer -
Once Upon A Time In Anatolia (Nuri Bilge Ceylan)
Last year's co-winner of the Cannes Film Festival's Grand Prix is every bit as challenging, human, and rewarding as the Turkish master's previous works.
Forrest Cardamenis reviews... -
Hugo (Martin Scorsese)
A unique hybrid of the fictional drama, childhood adventure, and biopic, Scorsese’s latest captures his belief in film and mechanical preservation.
Grant Phipps watches... -
The Best Exotic Marigold Hotel (John Madden)
With its starry cast and far-flung location, it was inevitable that The Best Exotic Marigold Hotel would become a hit at the UK Box Office. But is it actually any good?
Mark Davison hopes he dies before he gets old... -
The Artist (Michel Hazanavicius )
On the heels of its Oscar win, No Ripcord finally decided they should review the "Best Picture of 2011." So now, instead of examining whether it lived up to the hype, we can look at the movie once again as a movie. So, does it succeed on its own terms?
Forrest Cardamenis talks with... -
Shame (Steve McQueen)
After tackling the IRA with their first collaboration Hunger, Steve McQueen and Michael Fassbender continue to embrace the controversial by looking at sex addiction. But is Shame anything more than gloomy, big budget erotica?
Mark Davison could do with a long shower after this... -
The Turin Horse (Béla Tarr)
Beginning with the tale of Nietzsche’s descent into madness, the film is Tarr’s heavy valediction as a filmmaker that is reinforced by minimal dialogue and lengthy takes in an ostensible real-time degeneration.
Grant Phipps observes... -
The Descendants (Alexander Payne)
Alexander Payne re-asserts himself as one of the greats with a humane drama generally lacking in acerbic satire.
George Booker admires...
