120 Beats Per Minute is a film that feels so close to being great, but there’s always something about the way in which Campillo chooses to shoot or edit a sequence that holds it back.
Author: Craig Skinner
You Were Never Really Here Review
At less than ninety minutes, Ramsay and editor Joe Bini manage to make You Were Never Really Here a film that feels simultaneously deeply rich and incredibly sparse.
L’Amant Double Review
Ozon also directs L’Amant Double with an approach that resembles someone throwing the kitchen sink at the screen and then the cutlery draw shortly after.
Good Time Review
Ben and Joshua Safdie were about due for a breakout hit and it looks like they have one on their hands, with their indie heist gone wrong picture, Good Time.
Bushwick Review
Bushwick is a deeply silly movie which massively bungles its politics and has little to impress in its pointless and poorly executed form.
Redoubtable Review
For the most part Redoutable is actually a rather fun and frothy comedy, filled with broad gags.
The Florida Project Review
Part Little Rascals, part Dardennes, Moonee and her mother’s day-to-day activities are so engaging and the characters so richly drawn, that I felt like I could easily have watched another ten hours of The Florida Project.
The Beguiled Review
There’s so much potential in almost every aspect of the film that Sofia Coppola’s The Beguiled feels so disappointing despite being perfectly okay.
How to Talk to Girls at Parties Review
Loud, ramshackle and far to eager to impress, punk meets aliens picture How to Talk to Girls at Parties is like every bad gig you’ve ever been to in a small venue in which a band attempts to poorly regurgitate a bunch of cliched ideas and postures.
The Square Review
The Square‘s jaw-dropping centre piece in which an art project goes wrong – or so very right depending on your outlook – is the most tense experience I’ve had in a cinema this year.