Jay Kelly – first-look review
[ad_1] While Kelly reckons with his own personal failings – occasionally detailed in flashbacks filling out his path to stardom – his crew have problems
Bugonia – first-look review | Little White Lies
[ad_1] Although Lanthimos has moved away from the stilted hyper-stylised hallmarks which announced him to the filmmaking world at large, his preoccupation with misfits and
La Grazia – first-look review
[ad_1] There was a time in the mid-00s when the prospect of a new film by Italy’s newest favourite son, Paolo Sorrentino, was a cause for celebration. Titles
Orphan – first-look review | Little White Lies
[ad_1] In the closing credits of Orphan, cinematographer Mátyás Erdély receives billing before the screenwriters. While unconventional, this order aligns with the way director László Nemes
Little Trouble Girls review – profoundly sensuous…
[ad_1] It feels churlish to complain about the queer coming of age drama, especially when such films originate from countries that are particularly hostile towards
La Grazia – first-look review
[ad_1] There was a time in the mid-00s when the prospect of a new film by Italy’s newest favourite son, Paolo Sorrentino, was a cause for celebration. Titles
Caught Stealing review – Darren Aronofsky gets…
[ad_1] It feels too easy to say Darren Aronofsky is the one who gets caught stealing in his latest directorial outing, not in the least
On Swift Horses review – no wheel reinvention to…
[ad_1] It is hard to watch On Swift Horses without cynically regarding it as Jacob Elordi’s inevitable gay-for-pay moment. For every up-and-coming male actor under 30,
The Roses review – Cumberbatch and Colman’s…
[ad_1] Marriage and death are inescapably linked. The only way matrimony technically succeeds is through the “till death do us part” loophole built into the
Sex and the City 2 and the end of America
[ad_1] A purer cinema of excess has yet to be made. In classic sequel fashion everything here needs to be bigger, better and more bejeweled.