Reviews

Aardman deliver a love-letter to classic SF with the funny and visually inventive A Shaun The Sheep Movie: Farmageddon By Amy West 18-10-19 770 Released: 18 October 2019 Certificate: U Director: Will Becher, Richard Phelan Writer: Mark Burton, John Brown Cast: Justin Fletcher, John Sparkes, Amalia Vitale Distributor: StudioCanal If you like this, try… Chicken
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Here’s our review of The Addams Family, the gothic fam’s first feature-length animated adventure By Abigail Chandler 17-10-19 7,417 Released: 25 October Director: Greg Tiernan, Conrad Vernon Cast: Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard Distributor: Universal If you like this, try… The Addams Family (1991) This film is likely to give you
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Mirrah Foulkes reimagines the infamous seaside puppets in her intoxicating Judy & Punch By Katherine McLaughlin 11-10-19 3,980 Released: 15 November 2019 Director: Mirrah Foulkes Cast: Mia Wasikowska, Damon Herriman, Benedict Hardie Distributor: Picturehouse Entertainment If you like this, try… The Company Of Wolves Angela Carter and Neil Jordan’s fantasy horror is startling and ripe
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Here’s our review of the final film in Fabrice du Welz’s Ardennes based trilogy, Adoration By Katherine McLaughlin 08-10-19 1,064 Released: TBC Director: Fabrice du Welz Cast: Laurent Lucas, Benoît Poelvoorde, Martha Canga Antonio Distributor: TBC Director Fabrice du Welz concludes his Ardennes based trilogy, following Calvaire and Alleluia, with a nightmarish fairy-tale that recalls
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Jayro Bustamante’s La Llorona is one of the most powerful depictions of the legend in film By Katherine McLaughlin 08-10-19 2,404 Released: TBC Director: Jayro Bustamante Cast: María Mercedes Coroy, Sabrina De La Hoz, Margarita Kenéfic Distributor: TBC If you like this, try… Atlantics Mati Diop’s haunting debut feature gives a powerful voice to those
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Severin Fiala and Veronika Franz’s latest horror The Lodge is chilling and atmospheric By Katherine McLaughlin 08-10-19 3,307 Released: TBC Director: Severin Fiala, Veronika Franz Cast: Jaeden Martell, Alicia Silverstone, Riley Keough Distributor: TBC From the makers of Goodnight Mommy, Severin Fiala and Veronika Franz (the Austrian nephew/aunt directorial duo) comes a chilling and atmospheric
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James Gray’s sci-fi Ad Astra offers emotion, excitement and more By Katherine McLaughlin 18-09-19 2,145 Released: 18 September Certificate: 12A Director: James Gray Cast: Brad Pitt, Liv Tyler, Ruth Negga Distributor: Twentieth Century Fox If you like this, try… First Man Damian Chazelle’s poignant and creative take on Neil Armstrong’s mission to the moon is
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It is not every day that a new film arrives with as many hopes hanging over it as there were over Rose Glass’ Saint Maud. If the introduction of a new voice in the UK landscape is already an event in itself, it is even more special when that filmmaker is a woman, or working
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Ari Aster’s Midsommar Director’s Cut is worth the indulgence By Sarah Lines 09-09-19 4,246 Released: Out now Certificate: 18 Director: Ari Aster Cast: Florence Pugh, Jack Reynor, Vilhelm Blomgren, William Jackson Harper, Will Poulter Distributor: Entertainment Film If you like this, try… The Ruins In another sun-soaked nightmare, a group of friends finds an ancient
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The biggest challenge of splitting Stephen King’s leviathan of a novel into two films was always going to be the adults, the grown-up Losers who return to Derry 27 years later to finish what they started. It’s one thing to sell the idea of a monstrous clown hunting children, it’s quite another to conjure that
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A title like Sadistic Intentions comes with a certain expectation/bracing oneself, but writer-director Eric Pennycoff’s tightly wound debut is more interested in exactly what the title describes, and whether or not said intentions will come to fruition, than a violent payoff. After a shocking prologue, we watch as Chloe (Taylor Zaudtke) receives a phone call
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Stirring mental illness into supernatural horror is a tricky thing to get right. The allure of the “is this really happening?” element is understandable but it can be so dispiritingly manipulative and exploitative when done carelessly, so: hats off to director Brian Hanson and his co-writer Richard Handley for working hard to maintain ambiguity and
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The Soska Sisters return with their pointed and bloody remake of David Cronenberg’s Rabid By Katherine McLaughlin 27-08-19 133 There was a moment in fashion back in 2001 when Alexander McQueen confronted the hypocrisies of the industry with his Asylum show. He literally held up a mirror to those in charge with a final reveal
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Andrew Desmond’s feature debut The Sonata, co-written with Arthur Morin, opens with composer Richard Marlow (the late Rutger Hauer) putting the finishing touches on a musical score. He then walks downstairs, heads outside into the dark night with a petrol canister and candle in hand, douses his body in the fuel and sets fire to
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The beginning of Henry Jacobson’s feature debut Bloodline seems comfortable (at least to the horror viewer) because it is so steeped in cliché. A nurse (Christie Herring) wanders an empty hospital corridor at night, thinks she hears something behind her, enters the shower room, undresses, and has a shower, while a POV shot makes it
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The oxymoronic title of Dark Light involves a paradox. Like a Buddhist koan, it announces the film as a contradictory challenge that the viewer, sitting in the dark cinema looking at the flickering light projected onto the screen, must try to resolve, even if resolution is ultimately impossible. This is an impression reinforced by the
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“They say when you die, your whole life flashes before your eyes,” says James (Adrian Glynn McMorran) in voice-over at the beginning of Volition. “I wish it were that simple.” James is practically announcing that this film, directed by Tony Dean Smith and co-written with his brother Ryan Smith, is a chronicle of a death
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“Are we safe?”, asks the voice on the radio promo. “Could we commit a crime and get away with it?” The feature debut of Pedro C. Alonso, which he co-wrote with Alberto Marini (Summer Camp, 2015), Feedback observes a near Aristotelian unity of time and place, unfolding almost entirely over the course of one evening
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Siblings Jesús (Pablo Sigal) and Maria José (Valeria Giorcelli) work symbiotically. The siblings live together in their late father’s apartment. They have their own routine. They don’t particularly want to be disturbed. So, when their half-sister Magdalena (Augustina Cerviño) arrives from Spain suggesting that dad’s death means it’s time to sell the place and split
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