Film Reviews

  • Benediction (2021)

    It was only a matter of time that Terence Davies would turn his sentimental fascination in the subjective, personal accounts of British history to an artist as culturally significant as Siegfried Sassoon, as here in Benediction he filters grim archival footage of World War I through the mind of a poet driven to eloquent expressions…

  • Christmas in July (1940)

    Preston Sturges’ trademark commitment to running gags and expeditious pacing is present here in one of his earliest films, Christmas in July, and the faith individuals place in mainstream opinions rather than thinking for themselves is a perfect target for a director with such a skill in crafting farcical escalations.

  • Skyfall (2012)

    Visually, Skyfall is on a whole other level to every James Bond film that came before, as Sam Mendes’ impeccable craftsmanship delivers on set piece after set piece, sending Daniel Craig’s version of 007 down a sensitive path to confront painful childhood memories.

  • Stalag 17 (1953)

    Though a World War II German prison camp is not a setting that naturally opens itself up to comical escapades, Billy Wilder recognises the need to step away from its bleakness every now and again in Stalag 17, dedicating this suspenseful, funny, and tender film to the persistence of the human spirit in the worst…

  • Do the Right Thing (1989)

    The devastating loss which Do the Right Thing slowly builds towards might initially seem at odds with Spike Lee’s stylistically bombastic colours, compositions, and hip-hop rhythms, but in the extremity of such expressions it effectively becomes part of the fiery clash between righteous anger and profound joy, both of which burn vividly in this Brooklyn…

  • The Great McGinty (1940)

    The irony of a corrupt political system defeating itself through its own artifice is not easily lost in The Great McGinty, especially as Preston Sturges finds the humour in the unpredictability of life in the public eye, marking a modest debut from one of the great comedic directors of Hollywood.

  • The Fly (1986)

    The terminal illness metaphor is not wasted in the subtext of this intelligent screenplay, nor does David Cronenberg ever falter in intelligently picking apart the mad scientist’s disturbed psyche, yet in binding The Fly’s narrative so closely to the gripping, visceral decay of Seth Brundle’s body, it becomes a film that sticks in the mind for the…

  • Unknown Pleasures (2002)

    While Jia Zhangke grounds Unknown Pleasures in a grim reality dominated by derelict architecture and television sets, his young adult characters try to find some comfort in the philosophy to “do what feels good”, even if these ancient words are little more than a despairing assertion of meek independence in the face of a constrained,…

  • Memoria (2021)

    One woman’s quest to determine the source of a mysterious sonic boom only she can hear is rendered through effervescent soundscapes and long, static shots in Memoria, as Apichatpong Weerasethakul’s enigmatic, magical realist style lifts us away from the progress and constructions of the material world and drops us into an enigmatic, serene sea of…

  • Monsieur Hulot’s Holiday (1953)

    Whenever some force of political cynicism comes along to threaten the sweet innocence of Monsieur Hulot’s Holiday, Jacques Tati may bite back with good humour, but his focus never strays from the sweet, childlike love of beaches, dress-up parties, ice cream, fire crackers, and summer vacations, effectively turning his film into the cinematic equivalent of…

  • Eternals (2021)

    Casting aside those moments where Chloe Zhao gives up her artistic voice to the will of Marvel Studios, Eternals may be the franchise’s most narratively and stylistically ambitious film yet, constructing entire civilisations from the sorts of natural landscapes and golden hour lighting that the Oscar-winning director has well and truly mastered capturing.

  • Mommy (2014)

    Even though comparisons might be drawn between Instagram aesthetics and Mommy’s poppy style, Xavier Dolan’s film is far more artistically rich than anything one might find scrolling through social media feeds, as he finds both profound joy and grief in the strained relationship between a mother and son who can’t quite attain the long-lasting happiness…

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