In a bit, guys!
In a bit, guys!
Mark Wahlberg plays his usual arrogant self in a joyless, mundane film that refuses to take risks – ★★
There’s an emotional disconnect and lack of authenticity that prevents this superbly-acted film from achieving the greatness it so desperately strives for – ★★½
It flirts fleetingly with the moral ambiguities and devastating psychological effects of war, but none of this is enough to salvage this overtly-jingoistic work from frustrating mediocrity – ★★½
It struggles to shake off the shackles of its “White Woman Problems” genre, but Wild‘s exploration of guilt, grief and regret is powerful stuff indeed – ★★★½
Tak3ng th3 prov3rbial. If I see a worse action film than this in 2015, I’ll be both surprised and disgusted… – ★
Jones steals the show with her honest portrayal of a woman struggling with guilt. Alas, nothing can halt the slow, unspectacular march of Anthony McCarten’s perfunctory screenplay – ★★
Keaton, Norton and Stone dazzle in Alejandro González Iñárritu’s excoriating assault on modern celebrity culture and the consumers who worship at its altar – ★★★★
Based on UK release date, my top 20 films of 2014.
The Imitation Game struggles to strike the right tone in its latter half, but as a celebration of Alan Turing’s life, it’s a highly effective piece of cinema – ★★★★
Die Hard isn’t just the best action film of all time, it’s also the best Christmas film of all time. Here’s why – ★★★★★
You’ve seen The Drop many times before, but to its credit it does what it does very well indeed – ★★★
Affectionate, honest and informative, Life Itself serves as a fitting tribute to Roger Ebert’s admirable legacy – ★★★½
Paddington wears its heart and its values on its sleeve, thus making it one of the most politically relevant films of the year… no, seriously! – ★★½
With its honest, unromanticised portrayal of depression and mental illness, The Skeleton Twins is immensely admirable, despite some avoidable narrative flaws – ★★★
Say When is as conventional and pedestrian as you probably expect. If you’re into that kind of film, then you might enjoy it – ★★½
Intense, uncertain and devastating, “Coda” marks a fitting end to one of the best half-seasons of The Walking Dead to date – ★★★★
An apartment block setting and a cheap reference to Sharon Tate’s murder do not a successful Rosemary’s Baby rip-off make, as Annabelle proves – ★½
“Untold” is how Dracula Untold should’ve remained… – ★★
Interstellar, though admirable, is little more than the cinematic equivalent of watching a director whose reach far exceeds his grasp furiously masturbating at you without ever achieving a satisfactory climax – ★★
“Self Help” addresses a number of character development issues, but it does so in a way that feels a little too familiar – ★★½
Mike Leigh, like Turner, is a true artist – a master of his form – and it is his passion for the project that prevents Mr Turner from becoming yet another soulless, humdrum biopic – ★★★½
Inconsistent, problematic, but with moments of brilliance, “Death in Heaven” is a rather fitting conclusion to Series 8 – ★★★
David Ayer deserves plaudits for his uncomprising approach to Fury, but his direction and screenplay both lack purpose and meaning – ★★★
Eye-rollingly stupid and banal to the point of analgesic, Ouija is offensive, retrograde, sub-gothic garbage – ★
The Babadook doesn’t always work, but it taps into the most fundamental human fears and explores them in a way that is fresh and intriguing – ★★★
Some thoughts on the demise and perversion of the American Dream in relation to Dan Gilroy’s exquisite directorial debut Nightcrawler.
“Dark Water” is Moffat at his darkest and most deliciously morbid, and it lays some fierce foundations for the finale still to come – ★★★★
Not even a cynical sociopath like me can deny that Alexander and the Yadda, Yadda, Yadda is both funny and charming, particularly in a year that has so far been simply dreadful for children’s cinema – ★★★
The lines between the living and the undead become increasingly blurred this week as The Walking Dead continues to explore the desperate savagery of its surviving characters – ★★★½