2017
The Year of Spectacular Men might spin its wheels and veer off course, but there’s still some fun to be had by these spectacular women.
By showing Cecil Beaton the respect he deserves, while also not shying away from the less pleasant sides of his personality, Love, Cecil is a perfect tribute to all of the contrasting sides of this multifaceted, multi-talented artist.
What We Started is not a just documentary about the history of Electronic Dance Music but a metaphor of how the past has shaped the future.
With a clever use of eerie scenery and camera shots, The Endless is a vortex that goes full on wacky, without diluting its purpose, only strengthening it.
In many ways, Hooked is a crucial film that sheds light on a pervasive issue. Still, though, it seems as though there was more lurking beneath the film’s surface.
Who’s Watching Oliver rises above those that have come before and is poised to become a cult classic for lovers throughout the genre.
Vidar the Vampire shows the lack of change within the filmmaking community in regards to the portrayal of women on screen and further proves the necessity of the #MeToo movement.
Satisfying fans and welcoming new ones, King Cohen has a nice balance making sure the forgotten, outlandish missteps of Larry King are remembered as much time as his mainstream successes.
First, you’ll laugh at nonsensical crime thriller Hangman – and then, you’ll grow annoyed that this actually got made over better projects.
Whilst not always smoothly or coherently told through the performances and screenplay, Susu is a slightly confused movie with a distinct point to make.
An exhausting watch, Racer and the Jailbird never figures out which direction it wants to go in, never forging a true sense of character.
Certainly a crowd pleaser, Zoo is light and easy, yet lacks a certain depth for its subject matter, despite its talented cast, that will leave you wanting more.
With Jeune Femme, writer/director Léonor Sérraille has captured a painfully realistic story – with an unforgettable performance at the centre.
Despite its ambition and occasional impressive visual flourish, Monochrome is wrecked by its slow pace, poor writing and dull, unconvincing characters.
Director Isabel Coixet tries to adapt The Bookshop’s source material in its entirety – and it feels incoherent told as a narrative feature.
