2018
Donnybrook ends with a final battle for the ages. It’s just a shame that the road leading there is a miserable slog.
Walter’s Way depicts a truth we all must face one day – one that cuts deep in the subconscious fear that most of us keep hidden until we are forced to face it.
While at times a frustrating watch, The Cannibal Club is an unusual treat for horror fans and a fascinating piece of filmmaking from Guto Parente.
Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film.
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.
Christophe Honoré’s Sorry Angel is a deceptively complex character study, portraying a tragic relationship without succumbing to miserablism.
Her Smell never overstays its welcome, thanks to a stellar ensemble, Alex Ross Perry’s solid script, and Elisabeth Moss’s powerhouse performance.
Everybody Knows may be a little overlong, but it’s frequently compelling due to a powerhouse performance by Penélope Cruz.
Giant Little Ones, directed by Keith Behrman, explores new territory in the teenage “coming out” film genre and it’s a refreshing, welcomed addition.
Rocking the Couch charts 100 years of abuse claims in the film industry, asking how far Hollywood has come since the silent era.
All Is True fails to really justify itself: it’s a patchwork of ideas that never really coalesces confidently.
Female Human Animal is a unique experiment into pushing the boundaries of what is considered to be fact or fiction.
Level 16 is an excellent short film trapped inside a pretty good full-length feature. Its shortcomings hurt its long-term impact.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
A movie mirror-image to last year’s First Reformed, Woman at War is a strikingly beautiful story of one woman’s desire to do good.
