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The story offers a moving portrait of three teenage girls in their musical journey to prove that punk isn’t dead.
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A joyously operatic multi-generational sci-fi extravaganza that delivers a fun, fresh and mind-blowingly weird dose of summer mayhem, says Ben Robins.
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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.
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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.
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The film is a beautifully shot piece of cinema focusing on the condition of women in Georgia, 1992.
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Carney created the American version of his European success Once (2006), and the result is rather satisfying.
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A mega-blockbuster that somehow feels ridiculously cheap, says our writer Ben Robins.
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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.
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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.
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Xavier Dolan’s first film works as a real exorcism of teenage hatred, whilst embodying the blooming of the director’s cinematographic poetry.
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The true story of the iconic band singing about Big Girls not crying and boys trying to Walk Like Men, reviewed by Barnaby Walter
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Resting somewhere between pitch-black comedy and unrelentingly bleak drama, Miss Violence proves a deeply difficult experience, says Andy Southcott.
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A film that was characterised by inappropriate amusements, awkward narrating, unnecessary Hollywood romanticisation and an abundance of cliché.
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Phil Lord and Chris Miller have produced a comedy sequel that is just as funny, if not funnier, than its predecessor, says Jack Dillon.