Rating: 4.0★
There are films about relationships ending, and then there are films that make you feel the ending as a physical sensation somewhere around the chest. Blue Valentine, released in 2010 and directed by Derek Cianfrance, belongs firmly in the second category. It arrived in cinemas carrying a brief, almost defiantly
Rating: 4.0★
Persepolis arrived in 2007 as something of an anomaly: a French animated feature, produced in black and white, adapted from a pair of autobiographical graphic novels, and set against the backdrop of the Iranian Revolution and its aftermath. The source material, written and drawn by Marjane Satrapi and published between
Rating: 4.0★
Fairy tales, as the Brothers Grimm well knew before the sanitising of the Disney era, were never really for children. They were cautionary instruments, blunt as a mallet, full of mutilation, vanity and social punishment. It is into this older, uglier tradition that Norwegian writer-director Emilie Blichfeldt plants The
Rating: 4.0★
There is a version of David Lynch's career that reads as a consistent exercise in the uncanny: industrial wastelands, dream logic, violence lurking beneath the surface of small-town America. Under the Skin fans will recognise that particular brand of alienating, unsettling cinema, even if Lynch had no
Rating: 4.0★
Park Chan-wook returns in 2025 with No Other Choice, a South Korean and French co-production that wears its genre labels, comedy, crime, thriller, with a studied looseness that feels entirely characteristic of the director. The film is adapted, in broad strokes, from Donald Westlake's 1993 novel
Rating: 4.0★
Australian horror has a habit of catching you off guard, and Talk to Me (2022) arrived with precisely that quality. Co-produced by Causeway Films alongside Screen Australia, the South Australian Film Corporation, Bankside Films, and Head Gear Films, the picture is rooted firmly in the tradition of supernatural horror
Rating: 4.0★
Los Angeles at night has always been fertile ground for cinema's darker instincts, a city whose glossy surface conceals something considerably more unsettling underneath. Nightcrawler, released in 2014, taps into that unease with considerable precision, setting its story inside the world of freelance crime journalism, specifically the murky
Rating: 4.0★
Few films have managed to straddle two genres as confidently as An American Werewolf in London. Released in the summer of 1981, John Landis's horror comedy arrived at a curious crossroads in mainstream cinema, when the slasher boom kicked off by Halloween and Friday the 13th was still
Rating: 4.0★
Jonah Hill is perhaps not the first name you would expect on a director's chair for a quiet, personal coming-of-age film. Best known as a performer across broad comedies and a string of awards-friendly supporting turns, Hill spent years quietly working on what would become
Rating: 4.0★
Julia Donaldson and Axel Scheffler published The Gruffalo in 1999, and within a decade it had become one of those rare children's books that parents can recite from memory whether they want to or not. The rhyming couplets, the woodland setting, the mouse with an improbable imagination: all
Rating: 4.0★
By 2008, Clint Eastwood had spent the better part of six decades becoming one of cinema's most recognisable faces, and Gran Torino feels, in many ways, like a reckoning with that fact. The film arrives at a particular moment in American cultural life: Detroit as a setting already
Rating: 4.0★
There are films that take a single, universally understood fear and squeeze every last drop of tension from it, and Robert Harmon's The Hitcher is one of the more impressive examples of that discipline to come out of the 1980s. The premise is stripped to the bone: a
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