Rating: 4.0★
There's an early, sweeping aerial shot in this 2024 documentary that stops you cold. A brown, elegant shape glides effortlessly through the thick seaweeds of the Shetland coast, and it looks absolutely stunning. For a moment, I found myself bracing for the usual modern wildlife documentary catch: is
Rating: 1.5★
Let me be straight with you: I am not the biggest fan of avant-garde cinema. Most of the time, I genuinely don't enjoy it, and Jean-Luc Godard's Goodbye to Language did absolutely nothing to change my mind. If anything, it reinforced every suspicion I&
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Here is what is worth keeping an eye on at the cinema across the UK in August 2026. I have stuck to the releases most people will actually have on their radar, the bigger titles and the ones building a real head of steam, rather than listing every last thing
Rating: 2.5★
The cover art for Wim Wenders' 2018 documentary is genuinely quite cool. Striking, minimalist, it promises something profound and intimate about the life of the modern pontiff. But the moment you actually press play, that sleek packaging gives way to what is, without exaggeration, one of the most by-
Rating: 2.0★
There's a sound in Little Angel, Make Me Happy that will haunt me, and not in any good way. A high-pitched whistle, thin and relentless, drones across practically every outdoor scene like a frequency no one in post-production could be bothered to fix. It's
Rating: 3.0★
There are films that tell you a story, and there are films that hit you somewhere you didn't know you were vulnerable. Arthur Jafa's Love Is the Message, the Message Is Death is firmly in the second camp. Seven minutes long and composed entirely of found
Rating: 2.5★
There's a version of Aquaman that could have been genuinely great. Think about it: an underwater kingdom, bioluminescent cities, armies riding seahorses into battle, a king who talks to fish. Lean into that absurdity with real commitment and you might have something genuinely special on your hands. James
Rating: 3.0★
Most time-travel films are essentially flashy, convoluted messes that rely on a massive CGI budget to paper over their narrative plot holes. So when I sat down to watch Shane Carruth's 2004 indie mind-bender, I was bracing myself for something in the vein of The Butterfly
Rating: 3.5★
Twenty-ninth highest-rated film of all time on Letterboxd. Let that sink in for a moment. That is the weight I Am Cuba carries before you have even pressed play, and it is, frankly, an impossible burden for any film to shoulder. I went in expecting something close to
Rating: 2.5★
There's a moment about halfway through Personal Shopper where Kristen Stewart's character sits alone on a train, exchanging cryptic text messages with an unknown sender, and the film genuinely crackles with unease. It's tense, it's modern, it's quietly terrifying in
Rating: 3.0★
Grief is one of the hardest things to put on film. Not because emotion resists the camera, but because the temptation to sentimentalise, to over-explain, to reach for easy catharsis, is almost irresistible. Jean-Marie Straub resists all of that in Artemide's Knee, a short film made
Rating: 2.5★
Sometimes the best way into a director's work is through a side door. A documentary about Roberto Rossellini sent me digging back into his films, and that led me straight to Germany, Year Zero. I'm glad I watched it. I'm also not sure I&
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