• Spider-Man: Into The Spider-Verse

    December 21, 2018 - By 

    Spider-Man: Into The Spider-Verse is the best super-hero film in at least ten years because it understands what drew our shy, fifteen-year old selves to comics in the first place, and what has been missing, at a fundamental level, from the cinematic work of D.C. and Marvel: delight. Delight in what comics look like and how they move; delight in the rich, weirdo possibilities of the comics universe, where men decked in primary colours make earnest speeches about saving the world; delight in how it feels to be a kid who finds out he can run up the sides of…

  • Aquaman

    December 14, 2018 - By 

    Water disappointment. The party line of D.C. diehards, at least until Wonder Woman’s well-received idealism, was that their films offered “dark” or “serious” stories in contrast to Marvel’s fast-talking raccoons. But that description always fell way short of capturing the fundamental experience of watching films like Superman v Batman: Dawn of Justice or Suicide Squad: one of pure bafflement. The folks at D.C.’s film factory have proved themselves, again and again, to be accidental artisans of “wait, what?” cinema. The DCU is basically the Brexit of the modern multiplex: supposedly smart, competent professionals making a series of very bad decisions…

  • The Old Man & The Gun

    December 7, 2018 - By 

    If you had to be robbed by anyone, you’d want to be robbed by Robert Redford. He’d flash his holster, give you a knowing nod, and lay on that wiley Texan charm, the undiminished, easy-going confidence. You’d hand over your bank card and apologise for your shitty overdraft. “No problem,” he’d smile. Based on the real-life exploits of Forrest Tucker, a serial bank robber and prison escape artist, The Old Man & The Gun is a light-hearted, light-footed crime comedy caper about the Sundance Kid refusing to go gently into that good night. After having made his way out of…

  • Sorry To Bother You

    December 3, 2018 - By 

    Those who know Lakeith Stanfield, the reluctant hero of hip-hop artist Boots Riley’s Sorry To Bother You, probably do so from his scene-stealing turns in Donald Glover’s Atlanta as the bleary-eyed, conspiracy-promoting Darius, who seems to drift in and out of this dimension and the next. The show, aired on FX, is a rare one clued in to the absurdies and comic challenges of life on the lowest rung, where solid structures can melt away, like a nightclub wall that revolves when your back is turned. Sorry To Bother You, which stars Stanfield as a low-level telemarketer who shoots up…

  • Creed II

    November 30, 2018 - By 

    Rocky is a hero because he got up. And so is Sylvester Stallone. The franchise he’s been shepherding for half a century just keeps going. But sometimes it’s okay to just not take the fight, even when the crowd’s singing for it. 2015’s punchy, nimble Creed successfully re-orientated the Balboa brand around a new generation, Michael B. Jordan putting in a powerhouse performance as the son of Apollo. Hollywood franchises may be folding in on themselves like Inception’s boulevards, but thanks to the energies of regular collaborators Ryan Coogler and Jordan, Creed was the best example of a studio franchise embracing…

  • Shoplifters

    November 28, 2018 - By 

    When talking about great film-making legacies, there are few people alive that can rival Japanese writer-director Hirokazu Koreeda (The Third Murder, After The Storm) for consistency, quality and diversity. With his latest, Koreeda might just have intricately pieced together his finest movie to date, which is a feat in itself, given the stunning body of work that he has already got under his belt. As with all his films, Shoplifters is a gradual, deeply emotive, wonderfully humorous and highly intelligent tale that shows a side of Japan that is rarely seen with an empathetic eye. Shoplifters tells the story of…

  • The Meeting

    November 21, 2018 - By 

    An uncommon encounter conducted in the keys of grace and dignity, Irish drama The Meeting puts the mechanics of restorative justice on screen in the year’s most extraordinary blurring of fiction and reality. While walking from the bus stop to her Dublin family home one summer night, 21 year-old Ailbhe Griffith is suddenly grabbed from behind and dragged into bushes. Her attacker, who got off the bus behind her, then subjects her to a horrific sexual assault, biting, punching, scratching and penetrating her. “Not so glamorous now”, he hisses. Two passers-by intervene and chase off the perpetrator, very likely saving…

  • Fantastic Beasts: The Crimes of Grindelwald

    November 16, 2018 - By 

    Not since The Hobbit has a studio franchise spin-off so thoroughly dropped the ball. The similarities between Peter Jackson’s 9-hour pilgrimage to the Lonely Mountain and the Fantastic Beasts trilogy, two in with The Crimes of Grindelwald, are immediate and obvious. Both series take a charming little throwaway book, J. K. Rowling’s 2001 Fantastic Beasts and Where To Find Them, the real-life rendition of Hogwarts’ zoological textbook, and mount them on the rack, stretching them out until the joints give out. It’s gruesome textual torture. Close your eyes and whisper along with me: disapparate, disapparate, disapparate. Like An Unexpected Journey, Fantastic Beasts started…

  • Peterloo

    November 13, 2018 - By 

    The true story of the Peterloo Massacre is a shocking chapter in England’s history that needs to be told. In theory, writer/director Mike Leigh (Life Is Sweet, Mr Turner) should be the man for the job, given his track record of making classic films that delve into the everyday lives of the English working class. But while Leigh does manage to capture the look and feel of the time period in a very realistic and credible manner, the viewer may feel that he is a bit heavy-handed in getting his message across, creating a tone that off-sets the seriousness of…

  • Suspiria

    November 13, 2018 - By 

    It is with careful and skilled hands that a director approaches the remake of a film such as the genre-defining, visual masterpiece that is Dario Argento’s Suspiria. When Luca Guadagnino was announced as the director for the cult classic remake, the self-confessed Argento super fan asserted that his Suspiria would be an homage to the original rather than a direct copy. This new and original take on the 1977 Italian classic sees intertwining themes of political struggle and feminism permeating a close knit but divided witches’ coven who operate under the cover of a dance studio in post-war Germany. The film…