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Midnight’s Children
Metastasizing war, schisms of family to mirror the schisms of topography, lust, hunger, upheaval, religion, nuclear bombs, forced sterilization, annihilation, and love. And hope. And second chances.
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Pitch Perfect
Pitch Perfect is scabrously funny without relying on post-modern references or descending into nastiness.
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Great Expectations
Is it unfair—and pointless— to discuss a film in relation to other past adaptations, to judge it by what it’s not? But, on the other hand, do we need another version of Great Expectations?
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Amour
With Amour, you will remember the film, and you will remember the emotions, and there will be no humiliation in the crying.
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It Always Rains On Sunday
Though this classic Ealing drama may be rather slow going for a modern audience, there’s a humanist understanding of those struggling along in uncelebrated roles in lowly circumstances that deserves respect.
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The Landlord
The Landlord is a real race-relations curio; a social comedy that atomizes racial tension in a post-Sixties Brooklyn neighbourhood.
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Ernest & Celestine
Gabrielle Vincent’s children’s books have been brought alive with the same painted tones and styles that first accompanied the series. It is a sweet, quaint and charmingly unusual animation.
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Lawless
Lawless is a ripping yarn (in the proper, old-fashioned sense of the term), which, for the most part, manages to balance its moonshine-fuelled suspense and drama with a shot of humour and a chaser of romance.
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Berberian Sound Studio
It’s the early 1970s, and sheltered and unworldly sound engineer Gilderoy flees the safety of his mother’s house in Dorking, Surrey, to work on a gory horror film in Italy.
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Salute
On the podium at the 1968 Mexico City Games, African-American 200m medallists Tommie Smith and John Carlos raised their fists in a controversial ‘Black Salute’ protest, marking one of the most powerful and iconic images of the 20th Century.
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