THE GERMAN DOCTOR doesn’t have the most thematic depth or moral ambiguity the story might demand, but functions well as an unsettling thriller bolstered by good performances.
BLIND is the debut film from Eskil Vogt, a very unique, complicated character study that is both charming and alienating.
We review OBVIOUS CHILD, a rare festival rom-com that’s funny, unique and refreshingly honest.
Guardians is a somewhat entertaining affair, but it suffers from an adherence to the Marvel archetype, at the cost of its individuality and wit.
The latest in the long running series has some promising elements – particularly in the ape department – with visual prowess only just able to overcome a lacking script and empty story.
Despite a few narrative oversights, Life Itself is an incredibly touching documentary about an imperfect but determined man.
Reichardt has created moments of engrossing drama in Night Moves, redeeming fundamental structural errors with excellent acting and an effective, immersive style.
While unassuming football fans will likely find the The Second Game tedious, festivalgoers searching the program for something truly unique and experimental needn’t look any further.
Both in style and substance, Ida is a truly beautiful film. Instead of layering on exposition, Pawlikowski lets the viewer gradually realize the roles each character will play in the narrative, with the monochrome palette reflecting the moral shades of grey.
Featuring a lot of wasted talent and potential, Gareth Edwards’ Godzilla doesn’t hold a candle to the 1954 original and is a disappointing return to the genre following his impressive and engaging debut, Monsters.