Eloise Ross reports back from Sundance, looking at new films from Gillian Robespierre, David Lowery and more.
Barry Jenkins’ second feature is a complex and beautiful film buoyed by the tactile qualities of its images.
In our first dispatch from the Sundance Film Festival, Eloise Ross reflects on a group of political films (and one vociferously apolitical film) in what was a deeply troubling week.
Nostalgic for the turn-of-the-century action franchise, xXx: Return of Xander Cage is a monument to transcendent stupidity – and a lot of fun.
Instead of adding any nuance or complexity to representations of India and Indian characters, Lion traffics in obnoxious generalisations and harmful stereotypes.
ASSASSIN’S CREED is the latest in a lengthy list of failures in the realm of video game film adaption.
Preoccupied with failure and compromise, La La Land is a fascinating companion piece to Chazelle’s earlier Whiplash.
Passengers is a poorly written piece of CGI spectacle, swiftly sunk by its disturbing (and lazily handled) central ethical question.
Robert Zemeckis’ World War II thriller is a peculiar return to the melodrama of Golden Age Hollywood.
We look back at some of our favourite interviews of 2016.