tue 22/07/2025

Film Reviews

The Childhood of a Leader

Markie Robson-Scott

A tousled-haired child wearing wings is framed in a candlelit casement window. It’s a beautiful, Georges de La Tour-like scene. He’s the angel of the Lord in a nativity play rehearsal: unto us a son is born, peace on earth. But hark – why is the soundtrack so piercing and Psycho-ish? And why has this little angel (Tom Sweet) left the rehearsal to throw stones at people in the darkness?

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Lights Out

Nick Hasted

A woman cowers beneath her bedclothes, building a useless barrier against the thing she hears creeping and scraping across the room, the thing that only appears when she turns off the light. This is the most primal image of domestic terror in the homemade short film whose viral success took its Swedish director, David F Sandberg, to Hollywood.

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Swallows and Amazons

Saskia Baron

If one was going to write the recipe for a classic British children’s film, it would probably include the following: adapt much-loved novel; hire fresh-faced young actors and well-worn comedians; budget for steam trains chugging over viaducts; ensure messing around in boats; add lashings of pop and sprinkle with a faint whiff of jeopardy.

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The Shallows

Matt Wolf

Forty-one years since Jaws chomped its way into celluloid history comes a new addition to the shark film genre with The Shallows, in which Gossip Girl star Blake Lively plays a Texan surfer who goes mano a mano with a hungry fish. How much more does one really need to know? Not a whole lot beyond the inevitable truism that trouble starts brewing from the very moment our plucky heroine tells some new-found friends that she's "gonna be all right". 

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Valley of Love

Tom Birchenough

There are memorable appearances from two great actors playing close to the top of their game in Guillaume Nicloux’s Valley of Love, but they’re almost upstaged by something else. Nothing human – though their reunion and interaction in the film is being “directed” by an absent third party – but rather the environment in which they find themselves: the stark desert beauty and almost unbearable temperature of California’s Death Valley.

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David Brent: Life on the Road

Nick Hasted

David Brent is unwell. The irritating giggle that punctuates his verbiage is now hysterical. His reality show infamy in The Office led to a nervous breakdown, and the one-time boss of Wernham Hogg (Slough branch) is now a travelling tampon salesman for a sanitary firm. He’s a wearying man out of time to most of his younger co-workers, a laughing stock and irritant. It’s like late Hancock, replayed by a talentless buffoon.

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Nerve

Adam Sweeting

Coinciding with both Pokémon Go madness and a developing backlash against the insidious modern plague of mobile gadgets, Nerve is a moral fable for the social media era, and a Cinderella story that turns into The Hunger Games. Luckily, it's much more fun than that makes it sound.

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Almodóvar's Women

Jasper Rees

“A woman’s brain is a mystery,” explains one man to another in Pedro Almodóvar’s Talk to Her. “You have to pay attention to women. Be thoughtful occasionally. Caress them. Remember they exist, they’re alive and they matter to us.” They matter to no one so much as the great Spanish film director. Almodóvar has flirted with exploring the emotional ebb and flow of homosexuality in his work, but for the most part he has pursued his veneration of the fairer sex.

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Bobby Sands: 66 Days

Tom Birchenough

There’s much more to Brendan J Byrne’s engrossing, even-handed documentary Bobby Sands: 66 Days than its title might at first suggest. The timeline that led up to the death on 5 May 1981 of the IRA prisoner provides the immediate context – an increasingly dramatic one as the countdown of Sands’s hunger strike nears its inexorable conclusion.

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Sweet Bean

Saskia Baron

Sweet Bean is one of those slow, gentle Japanese fables that one either loves or finds infuriatingly sentimental. Directed by documentarian Naomi Kawase, a film festival favourite whose features rarely make it to the UK, it played in Cannes’ Un Certain Regard section and divided the critics. The French and Americans loved it, while hard-nosed British critics scoffed. 

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Barry Lyndon

Graham Fuller

Stanley Kubrick’s Barry Lyndon (1975), which has been re-released, is one of the most stately costume dramas films ever made. It is also a monument to tedium, a tale told so deliberately, ponderously, and humorlessly that it raises the question, as do Kubrick’s Paths of Glory, 2001: A Space Odyssey, Full Metal Jacket, and Eyes Wide Shut, of whether their maker was a genuine master or is a sacred cow. 

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The Commune

Nick Hasted

Stretching relations till they snap is Thomas Vinterberg’s abiding theme. In his iconoclastic, Dogme 95-instigating youth, accusations of incest and gross bad manners smashed the respectable veneer of Festen’s family. In his fiercely gripping comeback The Hunt, Mads Mikkelsen was violently ostracised from his small community when falsely accused of child abuse.

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Jason Bourne

Adam Sweeting

When Matt Damon's Jason Bourne makes his introductory appearance, as a bare-knuckle boxer somewhere in the lawless Greek-Albanian borderlands, it speaks volumes. Bourne is severely muscled-up, but he looks older, wearier and existentially imperilled. You could say much the same for this belated franchise addition, which is bristling with technology and intensely-detailed action scenes, but struggles to find much that wasn't done better, or more purposefully, in the earlier films.

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The BFG

Matt Wolf

Two cultural giants from different spheres align to occasionally sublime results in The BFG. Steven Spielberg's film locates the beatific in its (literally) outsized star, Mark Rylance, but lapses into the banal when its eponymous Big Friendly Giant – Roald Dahl's 1982 literary creation made motion-capture fresh – isn't careering across the screen.

As a sort of companion piece to...

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Star Trek Beyond

Adam Sweeting

This is the third of the rebooted new generation Star Treks, and ultimately leaves you with the feeling that the intrepid crew of the starship Enterprise continue to boldly go, but still haven't quite arrived. On the other hand, the fact that a sprawling high-tech movie like this can manage to recapture some of the friendly intimacy of the old TV series gives it an undeniable charm.

The opening sequence, where Captain James T Kirk is on a diplomatic mission to deliver...

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Chevalier

Jasper Rees

The opening shot of Chevalier trains the camera on a rocky beach surmounted by overcast skies. A dark form emerges from the water, then another and another. They're like creatures from the primordial soup making land all those millions of years ago, but actually they're scuba divers who happily pose with their catches before clubbing them to death.

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