drama
Terence Davies’ 1988 debut Distant Voices, Still Lives, newly rereleased by Arrow Academy, deserves to be treasured as one of the great British films.
Peterloo is a righteously angry film still mad at the widespread injustices that denied the less fortunate their basic human rights, almost two centuries later.
Hilarious, formally impeccable and necessarily provocative, Bodied may well be the greatest hip-hop movie ever made.
Possum is an impressively chilling debut from Holness and credit must go to the director for taking a risk on a darker affair.
The Super has the occasional moment of great horror filmmaking – but not enough to make it a super film.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.
After failing to get the film out of production hell for so many years, it’s no surprise The Man Who Killed Don Quixote feels world weary and cynical.
The Hate U Give is an important film; it understands the suffering poor communities go through, and how economic circumstances can enflame racial tensions.
Bohemian Rhapsody provides casual fans with some raucous concert re-enactments, but those seeking insight into the band’s and particularly Mercury’s history should look elsewhere.
Vox Lux is a weighty experience guaranteed to take a toll on viewers, both from its philosophical musings and its uncompromising look at 21st century violence.
With the continuation of last week’s vibe, episode 7, “Down Like The Titanic” distributes another Shameless highlight of season 9.
Mario tackles the stigma of being a gay man in professional soccer with remarkable realism and heart, with what could have been excessively melodramatic or exploitative.
What makes Nigerian Prince stand apart from the cavalcade of other crime thrillers cribbed straight out of the Guy Ritchie handbook is its Nigerian setting.
What They Had is an honest snapshot of a family during crisis, in all its inevitably chaotic shades – it’s exactly what you’d hope a movie about Alzheimer’s would be.
Two for Joy is desperate and demanding, but it offers something which is rarely allowed in films which depict poverty. – it offers hope.