Gary Ross provides competent direction and the cast is uniformly excellent, but this is ultimately a failure at script level.
An affecting look at little men both big and small.
Another zombie film! But hold the sigh, this (literally and figuratively) novel adaptation is provocative, gripping, clever and riddled with twists and turns.
Funny and touching moments don’t stop one wondering where this film is going on more than one occasion.
Found-footage has been done to death in the 17 years since that inaugural trip to the woods; this is the final nail in the coffin.
Hunt for the Wilderpeople is sweet and endearingly wacky without ever feeling mawkish due its back beat of irreverent and offbeat humour.
The Young Offenders eschews the sadly mainstream, authoritarian Irish tendency to represent the Gardaí as a uniform force for good in society.
Despite dividing itself between dual nostalgic depictions of 1930s Los Angeles and New York, Café Society nonetheless speaks to an altogether different ambivalence at the heart of Woody Allen’s filmmaking sensibility.
A Date for Mad Mary makes the most of its Drogheda setting while remaining universal in its appeal.
The two leads, Julieta young and old, tug at our heartstrings throughout. It’s a beautiful film about a messy life.
Suicide Squad limps from derivative set-piece to derivative set-piece until it not so much ends as just stops, mercifully.
Lights Out is naïve, uninformed and even irresponsible. Not enough thought went into this one.
While the talented cast certainly give it their best shot, the material simply does not reward their efforts. Mike and Dave need wedding dates.
Life on the Road resurrects everyone’s favourite (?) bozo David Brent and follows his attempts at breaking into the music industry.
Captain Fantastic has the potential to ask interesting questions about how to live well in an irreparably compromised society. Instead it gets by on cheap characterisations of what reactionaries think left-wing people are like.
Viva is an uplifting and gorgeously crafted film dealing with universal themes of family, love, passion and self-actualisation.
Spielberg’s fourth collaboration with Mark Rylance works superbly. His BFG is fearsome, vulnerable and ultimately lovable, as is this film that bears his initials.
It is incredibly difficult to watch this film without taking into account the fact that it was created for Pixar’s specific brand-demographic of Adult Baby.