This was the first thing that struck me when watching Widows – the new film from Steve McQueen, and the first since his Oscar-winning 12 Years A Slave. I think we can agree that these are manifestly different films, but from the first frame it possessed that same visceral realism of his earlier work. Continue reading
Vladimir Nabokov told us that good readers shouldn’t look to emotionally identify with the protagonist of a story, and for the most part I managed to avoid falling into that trap while watching Lady Bird. Most of the film didn’t engage me very much, but the working class guilt was like a gut punch: a sometimes overplayed, but always interesting thread that permeated the mother and daughter relationship. Continue reading
Craig Douglas highlights his top films of the year for 2016
Turns a truly grim subject matter into something strangely uplifting with one of the best child performances ever committed to celluloid from Jacob Trembly. Continue reading
Paul McKenzie highlights his top films of the year for 2016
With the New Year well under way its appropriate that we take a look back and pick some of our favourite films from the past 12 months. Looking back allows us to choose from a variety of different types of cinema. Here are my personal favourites viewed in 2016. Continue reading
Marek Robert highlights his top 5 film scores of the year for 2016.
The Neon Demon
Every time a new Cliff Martinez score is announced it’s almost guaranteed to be included in my favourite scores of the year and his score for Nicolas Winding Refn’s latest feature The Neon Demon is no exception. Continue reading
Chris Gallagher highlights his top 5 films of the year for 2016.
Director – Jeremy Saulnier
A visceral and pulsating experience, Green Room felt more like a rollercoaster ride than a movie. The ensemble cast is sublime, playing off each other with skill and ease. Jeremy Saulnier proves again that he is one of the most talented Directors around, using every affordable piece of space to almost drown you in tension and fear. The direction makes every scene relevant and Green Room Continue reading