With the sexy campus comedy Everybody Wants Some!!, Richard Linklater – who only last year told the twelve year-spanning story of a boy reaching adulthood in real time – has somehow found himself out of his depth.
Narrated by Brendan Gleeson, Risteard Ó Dómhnaill’s documentary takes as its subject three North Atlantic communities – Newfoundland, sub-Arctic Norway and the west of Ireland – facing huge challenges as corporate interests vie for control of the ocean’s resources of fish, oil and gas.
Ignore the title: Captain America: Civil War is really a direct sequel to last year’s Avengers: Age of Ultron, and a far more successful effort at that.
The audience gets exactly what they’d expect from Bastille Day: a solid B-grade action movie.
The film charts Mapplethorpe’s life from his emergence as an artist while living in the Chelsea Hotel with Patti Smith to his peak as a chronicler of New York’s underground BDSM scene in stark monochrome portraits.
With this film, Trier makes the rather unusual decision to take matters of the heart and handle them with a cool, detached and intellectual tone.
With Miles Ahead, director/star Don Cheadle is determined not to bore his audience. Instead he has crafted a fictionalised, genre-fuelled tale that represents not the literal reality of Miles, but rather develops as a stylised (even cartoonish) portrait to represent that reality.
Friend Request is unusual in terms of contemporary American horror films in that it cuts back on the now ubiquitous jump-scares (though there’s still two or three) and contains some quite extended scenes of a pretty graphic nature as its story unfolds.
With four touching performances at its heart and a refreshingly feminine focus on its central themes, Our Little Sister is a disarming, affecting and unimpeachably pleasant film.
Jeff Nichols takes a turn for the supernatural in Midnight Special, a sci-fi drama about a young boy, whose eyes and ears seem to be hypersensitive receivers for radio and satellite signals, as well as perhaps more otherworldly communications.
Mammal won’t offer its viewers any sense of satisfying progression or closure, but it will make for deliciously sensory, beautiful and emotive viewing.
Dheepan develops into a determined character study of the survivors of war and explores these familiar cinematic themes through the fresh eyes of non-white, non-western protagonists.
With Allegiant, the first of a two-part finale, the Divergent series limps toward the finish-line in an embarrassing display.of franchise fatigue.
Its somewhat objectionable focus on and treatment of the (often bound) female body aside, particularly in its earlier stages, this is a well-executed, scary piece of filmmaking of certain ingenuity.
Radical folk musician and poet Narayan (Sathidar) is charged with abatement of suicide after a sewage worker is found dead just days after he gave a performance in which it is alleged he encouraged sewage workers to kill themselves.
“I’m not a loser; I’m a quitter!” – Bill Murray’s only decent line in the execrable Rock The Kasbah
With Sing Street Carney expertly blends treacly yet heartwarming storytelling with a bare knuckle portrayal of Ireland in 1985.
Ben Wheatley’s High-Rise, like the JG Ballard novel of which it is an adaptation, has all the superficial qualities of a political allegory, centred around a single, high-rise apartment building.