REVIEW: Dolittle (2020)
Just as everybody is recovering from the bizarre CGI human-feline hybrids seen in Cats, another talking-animal film is unleashed on…
REVIEW: The Man Who Killed Don Quixote (2020)
If you’re under the age of 30, then Terry Gilliam has been trying to make and release The Man Who…
REVIEW: Charlie’s Angels (2019)
Following the recent trend of rebooting or continuing classic franchises with women-led casts, such as in Ghostbusters (2016) and Ocean’s…
REVIEW: Vivarium (London Film Festival 2019)
From the moment that Vivarium’s opening bright red credits flash onto the screen à la Michael Haneke’s Funny Games, you…
LFF 2019: The Report
In December 2014, 525 pages of a 6,725-page report on the CIA’s post-9/11 use of torture on terror suspects were…
REVIEW: The Goldfinch (2019)
Adapting an almost 800-page book for the big screen screams ‘ambition’ more than anything. Sure enough, John Crowley’s adaptation of…
The Humanity of Lara Croft in Tomb Raider (2018)
When I first watched Roar Uthaug’s Tomb Raider, what impressed me most was Lara Croft’s intelligence and physical strength. She…
REVIEW: The Current War (2019)
A century before ‘AC/DC’ became the moniker of a certain Australian rock band, the acronym was synonymous with American pioneers…
EIFF 2019: Them That Follow
As if religious fanaticism wasn’t frightening enough, now it’s got snakes! Up in the Appalachian mountains, a church pastor’s teenage…
