Rating: 2.5★
Three films in, and I'm starting to think Evil Dead and I are just not meant for each other. I went into Lee Cronin's Evil Dead Rise having already sat through both the original and Evil Dead II, neither of which exactly set my world on
Muslim International Film Festival (MIFF)
Shahad Ameen announced herself with Scales (2019), a stark black and white fable about a girl marked out by her community, which premiered in Critics' Week at Venice and marked her out as one of the most distinctive new voices in Saudi cinema. Six years on, she trades that
Rating: 3.0★
The premise sounds corny, I'll be straight with you. A djinn unleashed by a missile strike into a Tehran apartment block during the Iran-Iraq War. On paper, that reads like the kind of horror concept you might pitch as a joke. But Babak Anvari's Under
Rating: 3.5★
There's a moment in Touki Bouki where you feel the whole film snap into focus: two young lovers on a motorbike adorned with a cow's skull, tearing through the streets of Dakar with nothing but nerve and a half-formed plan, dreaming of Paris like it&
Article
The Lavender Hill Mob (1951) at seventy-five: a look back at the film, its making and its legacy.
Rating: 3.0★
There's a moment early in Listen to the Voices where a grandmother and her teenage grandson are ribbing each other about girlfriends and social media, and it's so warm and unforced that you almost forget you're watching a film. It feels like you'
Rating: 3.5★
There's a moment in Elephant where everything changes. You've spent the best part of half an hour just watching teenagers go about their day. Someone's late for school. Someone else is taking photographs. The rhythms are slow, unhurried, almost meditative. And then a character
Rating: 3.0★
My fiancée absolutely loves this film. It sits near the very top of her all-time favourites list, and so I went into it with a certain amount of pressure to feel the same way. I didn't, quite, but I can absolutely see what she sees in it,
Rating: 2.5★
There's a moment in Utama where the two elderly leads simply stand and stare out across a vast, bone-dry Bolivian plateau, the sky enormous above them, the silence total. It's a genuinely arresting image. The trouble is, that moment arrives about twenty minutes in, and
Rating: 0.5★
Three minutes. That's all it takes for Lost Boy in Juba to make its case, and honestly, three minutes is about two minutes and fifty seconds too long. The premise is this: a returnee from the diaspora, presumably used to tapping a card for everything, tries to pay
Rating: 4.0★
There's a moment watching Grand Prix where you stop thinking about cinema entirely and just grip the armrest. John Frankenheimer mounted cameras directly onto the cars, put you inside the cockpit, and suddenly you're not sitting in a darkened room anymore. You're hurtling around
Rating: 2.0★
There's a particular kind of disappointment reserved for films where the most interesting thing about them is the press release. Where the Road Runs Out holds the genuine, undeniable distinction of being the first feature film ever shot in Equatorial Guinea, and look, that really is something worth
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