REVIEW: Finding the Way Back (2020)
The road to recovery has two lanes (albeit, one with more traffic than the other) in Ben Affleck’s basketball drama Finding the Way Back. This isn’t a redemption story for Jack Cunningham – the struggling…
REVIEW: First Cow and A Reichardt Round-Up (2020)
I was lucky enough to watch a preview of First Cow in a cinema (remember those?) at the end of February, with Kelly Reichardt in attendance. At the time, the only other one of her…
REVIEW: Relic (2020)
The perception of family is one that we have seen time and time again become the strong basis for exerting horror onto the screen for the audiences; Ari Aster’s Hereditary dealt with feelings of resentment…
REVIEW: Palm Springs (2020)
Ever since Harold Ramis made a splash with his Bill Murray-starring time loop drama, Groundhog Day, nearly three decades ago, plenty of movies and TV shows have tried to recreate the same formula while trying…
REVIEW: Greyhound (2020)
Debuting exclusively on Apple TV+ following a remarkable $70 million deal, Greyhound marks the return of Tom Hanks’ to a World War II setting, following Steven Spielberg’s Saving Private Ryan and Bridge of Spies. Based on CS Forester’s 1955 fictional…
REVIEW: The Beach House (2020)
[some mild spoilers ahead] Not to be confused with The Beach House (2016 Lebanese film), The Beach House (2018 TV movie) or The Beach House (2019 short film), The Beach House is a horror film from…
REVIEW: The Lovebirds (2020)
Another casualty of the lockdown led the new rom-com from Kumail Nanjiani and Issa Rae to get snatched up by Netflix, and it doesn’t take long to realise that this was the best place for…
REVIEW: Hamilton (2020)
Full disclosure as we enter into this review; I am an unapologetic Hamilton super-fan. Since it opened on Broadway in August 2015, Lin-Manuel Miranda’s musical has become a genuine phenomenon. My obsession with it started…
REVIEW: The Old Guard (2020)
Releasing a superhero film these days must be daunting. Just last year Marvel’s domination of the genre culminated in the record-breaking, $2.7 billion-grossing epic Avengers: Endgame, meanwhile the DCEU has recently hit it out the…
REVIEW: The Truth (2020)
Japanese film director Hirokazu Kore-eda has been working steadily since the early 1990s and is internationally critically-acclaimed. He is a particular favourite of the Cannes Film Festival, winning the Jury Prize in 2013 for Like…
