The Midnight Sky continues George Clooney’s fascination for sci-fi, a rocky relationship that’s only really yielded one proper old fashioned hit – Gravity. Both Solaris and Tomorrowland seemed to fall into the dark hole between reviewer
Johnnie To’s baffling Throw Down, from 2004, is a hell of a good-looking film, an homage to Akira Kurosawa, “the greatest film-maker”, a dedication at the end reads. And though you might find influences from
Lovers Rock is the second in the sequence of Steve McQueen’s Small Axe series of films for the BBC, stories from the frontline of the West Indian immigrant experience in the UK. Unlike its predecessor,
“This film is intentionally unsubtitled”, it says at the beginning of Days (aka Rizi), the latest feature from the amazingly productive Taiwanese director Tsai Ming-liang – 19 films of various lengths in the last decade.
Having made films with more than a hint of the French about them – character driven, focused on metropolitan angst, loose, semi-improvised acting style, unafraid to let nothing happen – Ira Sachs finally gets almost
Bad Trip is Borat revisited. Same basic idea – pranks being foisted on real people, with a bit of scripted dramatic infill (a story) connecting the gotchas together. The pranks are all standalones, one-offs, which explains
Contagion, hysteria, conspiracy and the patriarchy – you can’t accuse British horror film The Reckoning of not being on the money, even though it was shot in Hungary in 2019 while the Sars-Cov2 virus was
Supernova is an admirably tight drama starring Colin Firth and Stanley Tucci. It gives us the who and the where immediately – Sam (Firth) and Tusker (Tucci), a long-established couple on holiday in the Lake