Shia Labeouf
Padre Pio leans into its politics and historical fealty; the spiritual aspects are heady, abstract, and dense.
Pieces of A Woman is remarkable – it’s either the final great film of 2020 or the first masterwork of 2021.
After the losing her baby, a woman embarks on an emotional journey while navigating her grief while working through fractious relationships.
Pieces of a is nevertheless chock-full of indelible moments; ones that help you ride out its harsher sequences with earnest warmth and genuine care.
Two enforcers for a crime lord face an uncertain future when an old rival reappears.
We look back at David Ayer’s 2014 war film Fury, and the deeper themes of anger mixed with sadness expressed throughout.
Brent Goldman covers Toronto International Film Festival films Honey Boy and How To Build a Girl.
Honey Boy tells the story of a young actor’s stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health.
The Peanut Butter Falcon is more interested in getting you to like it than in having much to say, and you know what, that’s okay.
In The Peanut Butter Falcon, Zak runs away from his care home to make his dream of becoming a wrestler come true.
In the latest of our Away From the Hype series, we examine Indiana Jones and the Kingdom of the Crystal Skull, to see whether it is deserving of its negative reputation.
Through strong performances and solid story, Borg McEnroe is a thrilling recreation of the iconic Wimbledon final.
Andrea Arnold is without a doubt cinema’s leading creator of stories depicting the trials and tribulations of working class women, with an entirely non-judgemental eye. Translating her social realist style across the Atlantic, keeping the inherent themes relevant to the lower classes intact, would seem close to impossible, although due to an unfortunate stroke of luck, the Presidential election has made the general idea of class in an overwhelmingly middle class country relevant yet again. Many audiences have been so transfixed by the way Arnold and her long-term cinematographer Robbie Ryan have captured the sweeping vistas of America, a world completely alien to the council estates of earlier films Red Road and Fish Tank, that they have seemed to ignore the fact this is unmistakably a distinctive piece of work.
David Ayer’s Fury is the story of an American tank unit led by “Wardaddy” (Brad Pitt) near the end of the European Theatre in World War II. Ayer is still best known for writing 2001’s Training Day, but after he made the surprisingly acclaimed End of Watch, he has been given the chance to direct a full-blown war film. Ayer’s hyper-masculine style is one that could be to the detriment of a war film that is trying to stay grounded in reality, but he is able to dial back his tendencies enough to keep it from being a glorification of violence.
