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The Town
It’s all done well, especially considering just how much work Affleck put into this one feature, but The Town never quite pushes beyond its genre trappings.
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Winter’s Bone
Winter’s Bone is an intimate and authentic tale that shines a light on a corner of America that rarely gets placed under the microscope.
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Barney’s Version
What unfolds on-screen (or in the trailer, which gives away almost every plot point) is the self-justification of a maudlin, chauvinistic man who imaginatively recasts himself as both a hero and a victim.
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Hereafter
Hereafter is unlikely to be regarded as a screen great, which is all the more baffling given the pedigree behind it.
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Certified Copy
Juliette Binoche is stunning; mature, sexy and wildly erratic in a way that makes me wonder why she hasn’t played more mad women in attics.
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The Girl Who Played With Fire
Salandar is an exceptional representation of a survivor, and Rapace conveys both sourness and steeliness, without ever losing the empathy of the audience.
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Gainsbourg
More than a biopic, this is a good looking, funny and engaging insight into the fact and fiction of France’s best loved chanteur.
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Morning Glory
Flicks that follow women as they negotiate the tricky climb up the career ladder have formed a rich comedy sub-genre of late.
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I’m Still Here
Is this an elaborate practical joke for his own amusement, or the actual direction Phoenix would like his career, and life, to take? If it is the former, it is hard to see what a successful punch-line would look like.
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The Way Back
The Way Back is not a bad film, but it’s a curiously pedestrian adaptation of such an epic human endeavour.
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