The reboot of the Luc Besson-scripted TRANSPORTER series labours too much in a cliched revenge narrative to be as simple and entertaining as its predecessor.
Room
Despite compelling lead performances from Brie Larson and Jacob Tremblay, ROOM squashes Emma Donoghue’s rich novel into a generic, awards-baiting prison of its own.
Z for Zachariah
Z FOR ZACHARIAH takes a welcomely melodramatic approach to the post-apocalyptic survival tale, with impressive performances from a small cast.
Christmas Evil
CHRISTMAS EVIL may not connect the psychological dots in its Santa-obssessed anti-hero, but has enough dark surprises to entertain regardless.
The Bélier Family
Eric Lartigau’s crowdpleasing family dramedy is an uncomfortably bland and trope-filled tale of living with disability.
The Supercut: A Video Tribute to Cinema in 2015
As part of our Year in Review coverage we take a look back at some of the best films to screen this year with a supercut, edited by Dominic Barlow.
The Good Dinosaur
THE GOOD DINOSAUR is a wonderful installment in the Pixar canon, balancing vivid landscapes with the studio’s undiminished knack for characterisation and plotting.
Giacchino Ascending: How Hollywood’s Best Composer Won 2015
Across four terrific feature film scores, 2015 marks the greatest period of Michael Giacchino’s career to date.
Cat Sick Blues
With an ill-considered view of online and rape cultures, CAT SICK BLUES is a moronic slog that sunders its ability to entertain as a slasher or engage as a horror allegory.
In the Heart of the Sea
IN THE HEART OF THE SEA is the latest in Ron Howard’s ongoing series of dull historical retreads, turning the voyage that inspired MOBY-DICK into an uninvolving survival drama.