United Kingdom
With Slaughterhouse Rulez, it seems Simon Pegg and Nick Frost haven’t quite let go of the comedy/horror genre, only this time with a different director and with uneven results.
Widows is a thrilling, satisfying and breathtaking experience that toys with the conventions of the genre while bringing enough depth and surprises of its own.
Sacrifice is not as strong as Brown’s other work, particularly his fascinating previous effort The Push, but it’s still bound to get people talking.
The horror of the unknown, the horror of David, the horror of The Guest, all trace back to the simple question the film asks us and then leaves to fester: “Who is David Collins?”
For all its superficiality, there’s a warmth to Coogan and Reilly’s central partnership in Stan & Ollie that – all stiltedness noted – deserves the faint smile it leaves you with.
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.
Possum is an impressively chilling debut from Holness and credit must go to the director for taking a risk on a darker affair.
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.
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.
While the film possesses a level of craft and passion that cannot be ignored, Await Further Instructions is missing something vital: originality.
They Shall Not Grow Old is a major monument for our memory of the British soldiers who fought in WW1 and an enormous step forward in depicting history through cinema.
Two for Joy is desperate and demanding, but it offers something which is rarely allowed in films which depict poverty. – it offers hope.
London Fields feels like it’s trying to accomplish too much, and as a result, accomplishes very little.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.