Despite high profile talent and solid, well-funded production values, the film achieves little, and feels like it exists purely to be produced.
In A Most Violent Year, JC Chandor mediates between his extremes creating a measured and wholesome work that expresses his diversity as a filmmaker far more acutely than anything else so far in his career.
In a reasonably sparse Awards season, WILD holds its own as a solid star vehicle with heart.
The third instalment of The Hunger Games delivers a solid and satisfying mediation on the mediatisation of war and revolution within the constraints of its Young Adult and relatively weak source material.
David Dobkin’s The Judge has high hopes, but never quite delivers, in this heavy-handed family drama.
Amma Asanta’s BELLE is a small yet satisfying film with a lot to say, and a surprisingly subversive way to say it.
The Julian Fellowes-penned adaptation of Shakespeare’s classic is a fairly atrocious rendition, showcasing profound ignorance and disrepect towards the original text.
Brendan Gleeson and Taylor Kitsch star in a completely unnecessary English-language adaptation of a reasonably successful Quebecois comedy.
Easy Money II: Hard to Kill suffers from the law of diminishing returns, delivering a more formulaic and derivative take on the gangster film than its predecessor, though it is saved by the strength of both its director and cast.
The first film in Daniel Espinosa’s crime trilogy is fast-paced, captivating, and despite an increasingly complicated and convoluted plot, it never loses its audience.