Rating: 3.5★
I've heard the names Asterix and Obelix my entire life. They are an unavoidable pillar of European pop culture, even if their footprint has shrunk a bit here in the UK in recent years. Endless merchandise, cultural osmosis, playground references. Yet, somehow, René Goscinny and Albert Uderzo'
Rating: 3.5★
The image that stays with me from Johnny Mad Dog is the dressing-up. Boys of ten to fifteen years old going into battle wearing wedding dresses, wigs, angel wings, whatever they have managed to loot along the way, each one answering to some fearsome nom de guerre. It is
Rating: 3.5★
Press play on Tomm Moore's 2009 animated feature and within seconds you're struck dumb by how gorgeous it all is. The vibrant colours, the geometric, illuminated-manuscript art style, the sheer fluidity of the movement across the screen. It's a genuine visual feast, and
Rating: 3.5★
The first thing that'll either hook you or drive you absolutely mad is the camera work. Fernando Meirelles shoots this with a deliberately restless, almost chaotic energy, and I know plenty of critics have knocked the skewed angles and hyper-stylised framing, dismissing them as distracting or overly
Rating: 3.5★
There is a quiet magic to A Dessert for Constance that genuinely sneaks up on you. Sarah Maldoror's 1981 picture announces itself with the kind of premise that could easily slide into bleak social commentary: two immigrants in France, doing the thankless, back-breaking work of refuse collection.
Rating: 3.5★
There's a moment early in Dunkirk where the camera simply pulls back and you see it: hundreds of thousands of men, packed onto a beach, staring out at a sea that offers no obvious salvation. No character tells you how bad things are. No general delivers a grim
Rating: 3.5★
We are absolutely saturated with cinema set in Afghanistan. From the Soviet invasion to the endless, grinding War on Terror, the country has frequently served as a backdrop for foreign filmmakers looking to capture geopolitical conflict. There is something almost reflexive about it now, the way Western productions reach for
Rating: 3.5★
There is a massive, glaring blind spot on the global map that most of us simply look right past. You know the kind: a place that flickers occasionally onto your radar in a news ticker, then vanishes again before you can even locate it. Iara Lee's 2015 documentary
Rating: 3.5★
Sometimes a film catches you completely off guard, and that's the best possible feeling. I'll be honest: a 1980s rural Slavic road trip movie wasn't exactly on my radar as essential weekend viewing. But Slobodan Šijan's Who's Singin' Over
Rating: 3.5★
Seventy million dollars. For sixteen minutes. Let that sink in for a moment. The Audition, Martin Scorsese's 2015 short film, was reportedly bankrolled by Macau casino groups to that frankly staggering sum, and when you first hear that figure, your brain does a little somersault. But then the
Rating: 3.5★
There's something almost rebellious about how unashamed A Boy Named Charlie Brown is of its own age. Press play and within seconds you're confronted with scratchy lines, flat colours, and character movements that creak along with a kind of charming stiffness. This is nearly sixty years
Rating: 3.5★
There's a particular image of Polynesian culture that documentaries and films have spent years carefully constructing, and I'll be honest, I've largely bought into it. Films like Kumu Hina painted a genuinely beautiful picture of a society where transgender individuals aren't merely
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