The sequel to 2014’s BAD NEIGHBOURS coasts by with its ribald antics, social progressiveness and strong performances from Seth Rogen and Rose Byrne.
THE BOSS is a smug, tacky and indefensible cavalcade of free-market conservative values dressed up in innocent buffoonery.
Earlier this week the Cannes Film Festival announced its 2016 Official Selection, including a packed competition filled with Cannes favourites.
Laszlo Nemes’ SON OF SAUL becomes one of the most accomplished recent narrative representations of the Holocaust on screen through its embrace of the impossibility of witness.
Alejandro Gonzáles Iñárritu’s latest is a bloated and arduous journey through Malickian mimicry and hyper-masculinity.
David O. Russell’s latest is a chaotic delight about chaos, both in business and family.
Malick’s experimental and oft-stunning KNIGHT OF CUPS sees him less concerned with narrative forms than ever.
Cristina Comencini’s LATIN LOVER is an uneven film that wins out due to the exuberance and life of its central performances and satire.
Ridley Scott’s latest space epic is occasionally thrilling but falls short as a result of its poorly drawn characters and frustratingly simple screenplay.
Joachim Trier’s English-language debut is a disappointment, eschewing the intelligence and depth of insight of his two earlier films in favour of insincerity and cliché.