mon 19/05/2025

Film Reviews

A Touch of Sin

Emma Simmonds

Speaking at the BFI's recent preview Jia Zhang-ke revealed that his surprisingly bloodthirsty latest is in fact, contrary to the shift it seems, the next logical step in his journey as a filmmaker: an amalgamation of his interest in personal crisis and his great love for the work of John Woo. Jia described A Touch of Sin as the film where he finally puts a "gun in the hands" of his beleaguered protagonists.

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An Autumn Afternoon

Tom Birchenough

The classic Japanese director Yasujiro Ozu named a number of his films after the seasons, but he restricted himself to spring, summer and autumn. I don’t believe he ever titled one after winter - not that his work doesn’t touch on the closing of the year, and its associations with death.

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In Secret

Emma Simmonds

As Literary Review's "Bad Sex in Fiction Award" recognises, there's not a lot that's funnier and more damaging to a story's credibility than an attempt to be sexy that falls flat or, even better, that misfires spectacularly.

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Before the Winter Chill

Jasper Rees

French cinema is full of long-term marriages hit by a meteor in the form of an attractive younger female. So there is a heavy sense of déjà vu to Before the Winter Chill. It also features another increasingly common trope of modern French film, which is Kristin Scott Thomas playing a perfect French speaker with an English heritage, and accent. So is there a twist? Sort of.

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The Canyons

Nick Hasted

“At the time, I was bored, and I needed something to do,” Tara (Lindsay Lohan) says, trying to explain her participation in a film. “And now…I’m looking for something else to do.” And she gives a small, bottomless sigh. The notorious, bedevilled Lohan is the hot spot in Paul Schrader and Brett Easton Ellis’s chilly nightmare about love in Hollywood. Her Marilyn-style on-set unreliability led every pre-release story about their experiment in micro-budget, Kickstarter-funded cinema.

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The Wind Rises

Katherine McLaughlin

Hayao Miyazaki's final film The Wind Rises is grand, sweeping and bursting with the kind of beautiful animation we've become accustomed to from Studio Ghibli (which celebrates its 30th birthday next year). Miyazaki delves into Japanese history with a soaring autobiography of aeronautical engineer Jirô Horikoshi, which also acts as a tribute to the writer Tatsuo Hori - who penned the original short story "The Wind Has Risen".

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Paths of Glory

Graham Fuller

Paths of Glory (1957) stars Kirk Douglas as a First World War colonel who's as fearless leading his poilus on a suicide mission as he is arguing for mercy for three of the survivors. A lawyer in peacetime, he defends them when they are tried as cowards before a panel of French officers who have no intention of exonerating them.

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The Truth About Emanuel

Katherine McLaughlin

The growing pains of teenager Emanuel (Kaya Scodelario, best known for TV's Skins) are ably handled in Francesca Gregorini’s gentle and melancholy drama about grief, mortality and motherhood. Emanuel is obsessed with her mother’s untimely passing at childbirth and when new neighbour Linda (Jessica Biel), who bears an uncanny resemblance to her, moves in, Emanuel can’t help but become attached.

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Silent Sonata

Tom Birchenough

The forces of death and life come up against each other in the strange, somehow impressive Slovenian war drama Silent Sonata. I say “Slovenian” only because director Janez Burger hails from there, and that’s where some of the filming took place (the rest was in Ireland, which was the major, but not the only European co-producer of the film), but the cast and crew are markedly international.

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Bad Neighbours

Veronica Lee

Zac Efron has well and truly left behind his cute High School Musical persona. First he bared all in That Awkward Moment and now in Bad Neighbours he plays his first unsympathetic role – but his fans will be delighted to know that he gets lots of opportunities to show off his six-pack again in Nicholas Stoller's winning comedy.

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Willow Creek

Nick Hasted

The Bigfoot legend rests on something close to found-footage: 1967’s grainy film of a large ape-like creature loping through the remote American North-west. The Patterson-Gimlin expedition’s reels are the Sasquatch conspiracy theorists version of the Zapruder footage.

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Pompeii

Karen Krizanovich

Best known for the Mortal Kombat twosome, the Resident Evil franchise (one of the DVD extras noted how the zombie dogs constantly ate off their zombie makeup) and big, bulging swipes at other genres with Event Horizon, AVP: Alien vs Predator and The Three Musketeers, director Paul W S Anderson’s Pompeii has been neither a critical nor box office hit in America. It is not, however, without charm.

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A Thousand Times Good Night

Demetrios Matheou

Juliette Binoche gives a powerful performance at the heart of a thought-provoking, very topical drama, whose flaws reflect its difficult subject matter.

The Frenchwoman plays Rebecca, a highly-rated war photographer, whose single-minded pursuit of the perfect shot and the game-changing scoop has compromised both her attitude to family life and her professional ethics. When she nearly dies on an assignment, she is forced to take stock.

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Blue Ruin

Emma Simmonds

Ah, revenge. Why does something so bad sometimes feel so necessary? Particularly in its most bloodthirsty form, it's a concept well explored onscreen, from almost every western and martial arts film to the final act of so many horrors – and the entirety of the spectacularly absurd TV series currently showing on E4, which is so obsessed with the idea it couldn't be called anything other than Revenge.

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In Bloom

Tom Birchenough

The teenage heroines of In Bloom may be only 14, but in the world in which they live – the film is set in the Georgian capital Tbilisi in 1992 – they are forced to act much older, to take on responsibilities beyond their ages.

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Sundance London 2014: They Came Together

Emma Simmonds

It might be putting it bluntly, but hell - American rom-coms didn't always suck. The screwball comedies of the 30s and 40s made bickering artful and aspirational and Woody Allen added his own neurotic spin in the 70s. Now the commercial end of the genre makes fools of us all with its desperate women, bland men and rigid, asinine formula. These films are an insult to the intelligent, ambitious or independent, and are at best a guilty pleasure.

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