The story offers a moving portrait of three teenage girls in their musical journey to prove that punk isn’t dead.
A joyously operatic multi-generational sci-fi extravaganza that delivers a fun, fresh and mind-blowingly weird dose of summer mayhem, says Ben Robins.
Reeves takes his time, carefully building the narration layer by layer, giving each character their own specific motivations and emotional back-stories, says Harrison Abbott.
Richard Linklater’s stunning examination of childhood and ageing, filmed with a single cast over twelve years, is a true highlight of modern cinema, says Andy Southcott.
The film is a beautifully shot piece of cinema focusing on the condition of women in Georgia, 1992.
Carney created the American version of his European success Once (2006), and the result is rather satisfying.
A mega-blockbuster that somehow feels ridiculously cheap, says our writer Ben Robins.
This is a sequel that delivers on every front; it increases the scale, expands the mythology, goes to unexpected places and still holds on to what worked the first time, says Harrison Abbott.
David Fincher’s first film was notoriously plagued by production problems and studio interference, but the director still managed to bring his atmospheric style to the finished studio version.
Xavier Dolan’s first film works as a real exorcism of teenage hatred, whilst embodying the blooming of the director’s cinematographic poetry.
The true story of the iconic band singing about Big Girls not crying and boys trying to Walk Like Men, reviewed by Barnaby Walter
Resting somewhere between pitch-black comedy and unrelentingly bleak drama, Miss Violence proves a deeply difficult experience, says Andy Southcott.
A film that was characterised by inappropriate amusements, awkward narrating, unnecessary Hollywood romanticisation and an abundance of cliché.
Phil Lord and Chris Miller have produced a comedy sequel that is just as funny, if not funnier, than its predecessor, says Jack Dillon.