The King’s Choice (2017)
★★★★☆
It’s desperate times for democracy in Erik Poppe’s The King’s Choice as Norway’s monarch attempts to save both King and country.
film
Ana, Mon Amour (2017)
★★★☆☆
An intimate portrait of the codependency of love, Cãlin Peter Netzer’s Ana, Mon Amour falters through its very male gaze.
Pieles (2017)
★★☆☆☆
A rhapsody in pink and purple pastels, Eduardo Casanova’s episodic debut Pieles doesn’t quite have the smarts to match its looks.
The Lost City Of Z (2017)
★★★☆☆
Pitting the difficulties of returning against the traveller’s urge to stray, James Gray’s The Lost City Of Z finds no peace at home or abroad.
On The Beach At Night Alone (2017)
★★☆☆☆
With its quiet portrait of a lovesick actress, Hong Sang-soo’sOn The Beach At Night Alone reveals a disappointingly light vision of a male fantasy.
Have A Nice Day (2017)
★★★☆☆
Sleek in its industrial animation, Jian Liu’s Have A Nice Day makes up for a lack of substance with style.
Moonlight (2016)
★★★★☆
Moonlight is a very different gay coming-of-age movie by Barry Jenkins and it will break your heart.
Hidden Figures (2016)
★★★★☆
In Hidden Figures Theodore Melfi reveals the hitherto hidden story of the African American women maths geniuses who got America to the moon.
Multiple Maniacs (1970, 2016)
★★★★☆
Now released in cinemas for the first time since it was made in 1970, John Waters shocks and awes with Divine in Multiple Maniacs – the clue’s in the title.
The Bar (2017)
★★★☆☆
Returning to the horror-comedy genre of his early films, Álex de la Iglesia’s The Bar uncovers Spanish society at a frightening pace.
Joaquim (2017)
★★★☆☆
A pastoral account of the politicisation of Brazilian hero Tiradentes, Marcelo Gomes’ Joaquim makes up for its slow pace with delicious images.
Call Me By Your Name (2017)
★★★★☆
A delightfully nostalgic and evocative portrait of young love, Luca Guadagnino’s Call Me By Your Name has all of the pleasure and only some of the pain.
Return to Montauk (2017)
★★★☆☆
Pianissimo rather than Moderato Cantabile, Volker Schlöndorff’s Return To Montauk fails to soar despite the best possible score.
Colo (2017)
★★☆☆☆
An observational portrait of a family falling apart, Teresa Villaverde’s Colo goes beyond crisis towards independence.