Christopher Pryor’s portrait of an amateur rugby team in New Zealand is a powerful and inventive piece of cinema verité with a focus on masculinity within community structures.
PEREZ represents a new a shift in direction for the classic Mafia film in its take on the legal system and individuals who try to control Italian organised crime.
BUNNY THE KILLER THING is a crass and offensive failure that shows little stylistic flair or interest in being anything beyond a cheap embodiment of slasher tropes.
An impressive low-budget, arthouse debut from Platon Theodoris bolstered by its unashamedly offbeat narrative and tight pacing.
Kriv Stenders tries his hand at a Martin McDonagh-esque violent black comedy but misses the mark by quite a wide margin.
Morgan Knibbe’s bold statement about a vital international crisis also functions as an exploration of millennial humanitarian politics and the ever-blurring line between documentary and fiction.
Bille August’s latest effort is a fantastic family ensemble piece that expertly recalls and echoes seminal Dogme 95 film Festen, a well deserving recipient of the 2014 Bodil Award for Best Danish Film.
Dome Karukoski’s adaptation of Tuomas Kyrö’s popular and comical novel fails to hit the mark, fumbling its way into becoming a mediocre family comedy with more cringes than laughs rather than a rich social satire.
Morgan Neville and Robert Gordon’s documentary gives shape to the American political climate of the late Sixties with balance and panache, elevated by its focus on uncharacteristically thrilling television footage of two great public intellectuals.
Raoul Peck’s study of a couple dealing with the Haitian earthquake aftermath is a mostly successful agglomeration of disparate influences, whose missteps are outweighed by class and intelligence.