The Woman King

Review by Lila Funge In the West African kingdom of Dohemy, 1823, we find ourselves thrust into the world of the Agojie – real life Amazonian warriors. These women, led by General Nanisca (Viola Davis), are highly skilled warriors trained to defend their homeland against rival tribes and slavers. The Woman King (Gina Prince-Bythewood, 2022)Continue reading “The Woman King”

Flux Gourmet

Review by Sarah Murnane Flux Gourmet (Peter Strickland, 2022) is an independent movie that fails to hit the mark. The film follows a group of artists who join an institute dedicated to culinary performance. The ‘culinary collective’ made up of Billy (Asa Butterfield), Elle (Fatma Mohamed) and Lamina (Ariane Labed) gradually deteriorates in the search toContinue reading “Flux Gourmet”

Bullet Train

Review by Alex Garrett !!Spoilers Ahead!! No matter how pretentious and contrarian my opinions about films may be, ultimately, I am a simple man. When I was about 14-15, I believed that Kingsman: The Secret Service was one of the greatest films of all time, valuing its visceral fight scenes and curse-laden dialogue (that IContinue reading “Bullet Train”

Blonde

Review by Shane McKevitt Premiering at the Venice International Film Festival earlier this month, director Andrew Dominik’s Blonde (2022) chronicles the career of Marylin Monroe, with Ana de Armas in the lead role.  An adaptation of Joyce Carol Oates’ novel, Blonde takes liberties with its subject matter, conveying the story of Monroe with the benefitContinue reading “Blonde”

Don’t Worry Darling

Review by Eve Smith In the opening scenes of the sun-bleached Americana-world of Don’t Worry, Darling (Olivia Wilde, 2022), life seems a little too good to be true. Women in swing skirts smile and wave their husbands off to work in a technicolour coordination that looks like it could be a colourised 1950s infomercial. AndContinue reading “Don’t Worry Darling”

The 79th Annual Venice Film Festival

By Shane McKevitt The 2022 Venice International Film Festival held its closing ceremonies last weekend and, in the wake of eleven days packed with screenings from 8am to midnight, there is plenty to discuss.  While I am eager to get into some of the festival’s highlights, I should also note some of its lesser points. Continue reading “The 79th Annual Venice Film Festival”

After Yang

Review by Sadbh Boylan In one of After Yang’s (Kogonada, 2022) most touching scenes, Justin H. Min’s ‘technosapien’ Yang quotes Chinese philosopher Lao Tzu: “what the caterpillar calls the end, the rest of the world calls a butterfly.” His human owner-slash-guardian, Kyra (Jodie Turner-Smith) asks if Yang believes the same logic applies to humans whenContinue reading “After Yang”

Blackbird

Review by James Mahon If Michael Flatley’s recently released self-directed and produced film Blackbird (Michael Flatley, 2022) was a satire of the spy film genre it would be a ‘tour de force’.  It possesses such a derivative plot, ostentatiously bad acting, and generic clichés that it perfectly parodies everything inherently wrong about the thriller category.Continue reading “Blackbird”

Crimes of the Future

Review by Cat Earley “Do you mind if I ask you something intimate?” says Kristen Stewart’s character to Viggo Mortensen’s in David Cronenberg’s new Crimes of the Future.  “No, go ahead.” he replies. “That surgery is sex, isn’t it?” She continues, “surgery is the new sex.” “Does there have to be a new sex?” “Yes.Continue reading “Crimes of the Future”

See How They Run

Review by Luke Bradley See How They Run (Tom George, 2022) launches straight into its ‘whodunnit’ narrative. Scored by the narration of Adrien Brody’s hot-shot director Leo Köpernick, he criticises the ‘second-rate murder-mysteries’ of the 1950s. ‘It’s a whodunnit; you see one, you’ve seen them all’, Köpernick laments. Opening with such a brazenly self-referential statementContinue reading “See How They Run”