|
1/5
|
76%
|
Filth () |
"
Drama has been mugged by melodrama. Posturing nihilism powers on, fatuously fantasticated whenever the realist impulse, feeble at best, flickers out altogether."
—
Financial Times
Posted Oct 3, 2013
|
|
3/5
|
91%
|
The Pervert's Guide To Ideology (2013) |
"
I'm not sure if the Zizek thoughts are an aid to illuminating the Zizek-chosen movies, or vice versa. But it is rich fun and collectably eccentric."
—
Financial Times
Posted Oct 3, 2013
|
|
3/5
|
96%
|
Sunshine on Leith () |
"
The singalong, turned into a musical for stage and now screen, is better than one feared or hoped."
—
Financial Times
Posted Oct 3, 2013
|
|
5/5
|
100%
|
The Crash Reel () |
"
The film captures the horror and danger and the druggy thrill. We understand why these kids want their "highs" even when the cost of coming low can be fatal."
—
Financial Times
Posted Oct 3, 2013
|
|
4/5
|
76%
|
How I Live Now (2013) |
"
All England is here: a blend ... of dark with light, of the eternal-pastoral with tense and tactile forebodings of an unwritten future."
—
Financial Times
Posted Oct 3, 2013
|
|
2/5
|
91%
|
Blue Jasmine (2013) |
"
If you don't buy this stuff you don't buy it, though millions do and perhaps millions will."
—
Financial Times
Posted Sep 26, 2013
|
|
3/5
|
80%
|
Prisoners (2013) |
"
The cast and creators are released early for good behaviour."
—
Financial Times
Posted Sep 26, 2013
|
|
4/5
|
69%
|
Greedy Lying Bastards (2013) |
"
This film is an awful warning and awful fun at one and the same time."
—
Financial Times
Posted Sep 26, 2013
|
|
2/5
|
88%
|
Hannah Arendt (2013) |
"
Hannah Arendt's problem is the evil of banality: the gnawing away of drama by platitude and pedestrian mise-en-scène."
—
Financial Times
Posted Sep 26, 2013
|
|
1/5
|
8%
|
Runner Runner (2013) |
"
A crime-and-gambling thriller with Ben Affleck going head to head with Justin Timberlake. Result: they knock each other out like football players rising to head the same ball."
—
Financial Times
Posted Sep 26, 2013
|
|
4/5
|
60%
|
InRealLife () |
"
Film-maker/documentarist Beeban Kidron explores the IT age in InRealLife, surfing widely and provocatively."
—
Financial Times
Posted Sep 19, 2013
|
|
3/5
|
77%
|
Kelly + Victor () |
"
Between bed scenes the film dulls out a little: meandering Liverpool walkabouts scored for dirge-like synthesisers. (The 60s-era Art Movie Handbook.) Whenever we are in the bedroom, though, the story catches fire . . ."
—
Financial Times
Posted Sep 19, 2013
|
|
4/5
|
90%
|
Hawking (2013) |
"
Si monumentum requiris, see this film."
—
Financial Times
Posted Sep 19, 2013
|
|
3/5
|
44%
|
The Call (2013) |
"
It's a neat nerve-frayer with lessons for anyone finding themselves trapped in a confined space and needing to alert the outside world."
—
Financial Times
Posted Sep 19, 2013
|
|
3/5
|
100%
|
Metro Manila (2013) |
"
Characterisation basic. But plot well-turned and pace moodily rubato, as in the best kind of B-movie."
—
Financial Times
Posted Sep 19, 2013
|
|
2/5
|
3%
|
Diana (2013) |
"
Like Diana herself among the Windsors, Watts seems frighteningly isolated. She is the only performer/character for whom we give a damn ..."
—
Financial Times
Posted Sep 19, 2013
|
|
|
70%
|
Tom à la ferme (Tom at the Farm) () |
"
For a while, it's like a Pasolini picture gone potty. For a later while, it's like a Hitchcock movie where everything is in place except the point and the destination. You have to love the visuals, though"
—
Financial Times
Posted Sep 13, 2013
|
|
2/5
|
50%
|
White House Down (2013) |
"
Roland Emmerich (Independence Day, The Day After Tomorrow) can do these films in his sleep; which may be why they sometimes emerge as nightmares of crazed, florid hokum."
—
Financial Times
Posted Sep 13, 2013
|
|
1/5
|
79%
|
42 (2013) |
"
I wanted to kick Ford/Rickey into next Christmas, and you can add the movie. Its corny triumphalism is barely bearable."
—
Financial Times
Posted Sep 13, 2013
|
|
3/5
|
68%
|
The Artist and the Model (2013) |
"
The film takes time to get going. There is reward eventually, though: in Rochefort's plain but noble-nosed suffering, in some acute dialogue about the pains and paradoxes of art creation."
—
Financial Times
Posted Sep 13, 2013
|
|
4/5
|
91%
|
In a World... (2013) |
"
In a world where American comedies often die in ditches, pushed in by negative roadblocking (useless scripts, miscast stars), here is an affirmative mirth work, modestly cast, which actually makes you giggle"
—
Financial Times
Posted Sep 13, 2013
|
|
4/5
|
88%
|
Rush (2013) |
"
The film is outrageously enjoyable."
—
Financial Times
Posted Sep 13, 2013
|
|
|
81%
|
The Wind Rises (Kaze tachinu) (2014) |
"
Blends tragedy, comedy, elegy, romance and apocalypse into an elemental lyricism no other director could get near."
—
Financial Times
Posted Sep 8, 2013
|
|
|
91%
|
Stray Dogs () |
"
This film's poetry goes straight to the heart and solar plexus."
—
Financial Times
Posted Sep 7, 2013
|
|
0/5
|
49%
|
Pain & Gain (2013) |
"
Forgive me while I weep in despair. Pain and Gain is awful beyond imagining."
—
Financial Times
Posted Aug 29, 2013
|
|
4/5
|
85%
|
The Way Way Back (2013) |
"
Never mind the text; feel the texture."
—
Financial Times
Posted Aug 29, 2013
|
|
1/5
|
64%
|
One Direction: This Is Us (2013) |
"
There is a very peculiar exchange of power going on between the fans of One Direction and the band, that makes the movie feel more than anything like a horribly grovelling, Mr Slopeish bow."
—
Financial Times
Posted Aug 29, 2013
|
|
3/5
|
88%
|
What Maisie Knew (2013) |
"
Whenever Moore is off screen - the only character with size-10 oomph - the film risks evaporating altogether. Moral: it isn't that easy to modernise Henry James."
—
Financial Times
Posted Aug 22, 2013
|
|
3/5
|
54%
|
Lovelace (2013) |
"
Amanda Seyfried and Peter Saarsgard are good as the Beauty and Beast of the 1970s porn industry in Lovelace."
—
Financial Times
Posted Aug 22, 2013
|
|
4/5
|
76%
|
The Kings of Summer (2013) |
"
The reasons for raves at the Sundance Film Festival? The film's charm, freshness, wit and skewiness of vision."
—
Financial Times
Posted Aug 22, 2013
|
|
3/5
|
68%
|
Elysium (2013) |
"
You don't know where to look next, or to listen, in this movie. Every actor seems to have come from a different rehearsal room."
—
Financial Times
Posted Aug 22, 2013
|
|
2/5
|
50%
|
Looking for Hortense (Cherchez Hortense) () |
"
At once contrived and jerry-constructed."
—
Financial Times
Posted Aug 8, 2013
|
|
4/5
|
90%
|
Silence () |
"
Think of Brian De Palma's Blow Out, then imagine it re-filmed by a team of Trappist monks."
—
Financial Times
Posted Aug 8, 2013
|
|
4/5
|
79%
|
Foxfire () |
"
With the grim, ineluctable logic of resistance movements - the logic of mission creep and self-fulfilling vows of fanaticism - the girls move from non-conformism to violent confrontation, from empowerment to their and others' endangerment."
—
Financial Times
Posted Aug 8, 2013
|
|
2/5
|
31%
|
The Lone Ranger (2013) |
"
Gallops across our skulls for two and a half hours, pounding them into the same kind of desert as that on screen: a barren flatland with occasional rearing outcries of rock."
—
Financial Times
Posted Aug 8, 2013
|
|
3/5
|
84%
|
Alan Partridge: Alpha Papa () |
"
It's fun at first. Then the fun is air-pumped up until it isn't fun."
—
Financial Times
Posted Aug 8, 2013
|
|
2/5
|
87%
|
The Conjuring (2013) |
"
Here is a humdrum hunk of am-dram Gothic, lent prestige by a few specious avowals of its basis in a true exorcism case."
—
Financial Times
Posted Aug 1, 2013
|
|
4/5
|
61%
|
My Father and the Man in Black (2013) |
"
Plays like a non-fiction Walk the Line with script input by Eugene O'Neill."
—
Financial Times
Posted Aug 1, 2013
|
|
4/5
|
83%
|
From Up On Poppy Hill (2013) |
"
The incest-scare subplot never trips up the movie's charm. And there's a haunting reverberance, very Hayao Miyazaki, to the war memories that empower the parental back-stories."
—
Financial Times
Posted Aug 1, 2013
|
|
3/5
|
93%
|
Paradies: Hoffnung (Paradise: Hope) () |
"
Seidl likes his tragicomedy black. He likes it malicious and a little miserablist. You do not go to these films hoping to see - well - love, faith or hope. Let alone "paradise"."
—
Financial Times
Posted Aug 1, 2013
|
|
5/5
|
56%
|
Heaven's Gate (1980) |
"
Cimino endows the visuals with a Zola-esque texture and realism. But the characterisation and dramatic reach go beyond even that."
—
Financial Times
Posted Aug 1, 2013
|
|
4/5
|
40%
|
Only God Forgives (2013) |
"
Refn has at least set the bar high for his aesthetic future. After this, any Refn thriller will be some kind of event."
—
Financial Times
Posted Aug 1, 2013
|
|
2/5
|
69%
|
Days Of Grace (Dias De Gracia) (2011) |
"
Full of colour, carnage and dramatic overkill, the film drills through your brain, destroying neurons as it goes. It's like being your own guest at an aesthetic torture gig."
—
Financial Times
Posted Jul 25, 2013
|
|
2/5
|
58%
|
Viramundo () |
"
A sweet-natured but soporific slab of positive musing - and positive music - featuring Gilberto Gil, Brazilian singer-songwriter and Lula-era minister of culture."
—
Financial Times
Posted Jul 25, 2013
|
|
3/5
|
98%
|
Blackfish (2013) |
"
An acclaimed and chastening documentary about what happens to human beings - injury, mutilation, death - when they pen orcas in sea parks."
—
Financial Times
Posted Jul 25, 2013
|
|
4/5
|
88%
|
Dial M for Murder (1954) |
"
Grace Kelly reaches out into the audience for murder scissors; foreground tea tables all but clonk your knees; a tell-tale door key - how many Hitchcock revelation moments feature those! - is brandished inches from your nose."
—
Financial Times
Posted Jul 25, 2013
|
|
1/5
|
69%
|
The Wolverine (2013) |
"
A movie that clots the brain and paralyses the soul."
—
Financial Times
Posted Jul 25, 2013
|
|
4/5
|
93%
|
Frances Ha (2013) |
"
I'm not sure what Noah Baumbach's Frances Ha is about, which is one reason I like it so much."
—
Financial Times
Posted Jul 25, 2013
|
|
2/5
|
57%
|
The Frozen Ground (2013) |
"
The whole film, really, comes from a freezer. Thaw first; then reheat the bugaboo murders, the twitchy killer, the trail of script clues that would lead a moose to the truth in moments but must take 105 minutes to occupy a movie-picked police force."
—
Financial Times
Posted Jul 18, 2013
|
