Simran Hans

Simran Hans
Tomatometer-approved critic

movie Reviews Only

T-Meter Title | Year Review
2/5 89% The Kid Who Would Be King (2019) I'm a huge fan of Cornish's 2011 debut Attack the Block, but this film isn't nearly as energetic or enjoyably wacky as its predecessor. - Observer (UK) EDIT
Read More | Posted Feb 17, 2019
3/5 81% Instant Family (2018) Anders and his wife are parents to three adopted children, and there's a sense of verisimilitude and attention to detail regarding both the joys and the travails of foster care. - Observer (UK) EDIT
Read More | Posted Feb 17, 2019
2/5 82% Jellyfish (2018) Though Hill's performance enlivens an overwritten script, her jokes never quite land, undermining the film's basic premise. - Observer (UK) EDIT
Read More | Posted Feb 17, 2019
3/5 55% Mektoub, My Love: Canto Uno (2017) Kechiche is quite brilliant at using stretches of time to create space for actors to let their characters breathe. - Observer (UK) EDIT
Read More | Posted Feb 16, 2019
2/5 81% Boy Erased (2018) The film feels thin, drab and ultimately unable to harness the collective power of its otherwise talented cast. - Observer (UK) EDIT
Read More | Posted Feb 10, 2019
4/5 100% América (2018) Stoll and Whiteside are careful to show that sacrifice does not guarantee sainthood. - Observer (UK) EDIT
Read More | Posted Feb 10, 2019
3/5 76% All Is True (2018) Branagh casts himself as the beloved "Will" (of course), playing him with a convincingly world-weary edge, while Judi Dench stars as his wife, Anne Hathaway. - Observer (UK) EDIT
Read More | Posted Feb 10, 2019
4/5 86% The LEGO Movie 2: The Second Part (2019) The final set piece is a little protracted, but the jokes are mostly sharp and enjoyably self-referential and the songs still catchy. - Observer (UK) EDIT
Read More | Posted Feb 9, 2019
88% The Last Black Man in San Francisco (2019) The originality and scope of Talbot's vision feels exciting. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
66% Native Son (2019) Native Son... is a fascinating, jagged, feature debut from visual artist Johnson. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
89% Animals (2019) Think the sharp, brittle millennial observations of novelist Sally Rooney meets the bawdy, female anarchy of Věra Chytilová's Daisies. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
60% Official Secrets (2019) The film comes alive in the newsroom scenes, played with a tongue-in-cheek edge. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
93% The Report (2019) [A]n enraging true story that zips along in spite of Burns's dense script. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
100% Honey Boy (2019) The script, written by LaBeouf, is refreshingly direct, and at times, wrenchingly personal, anchored by vulnerable old-soul Jupe, who gives one of the most moving child performances I've seen in years. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
89% The Souvenir (2019) [A]n exquisitely judged excavation of and grainy homage to director Joanna Hogg's film-school days in 1980s London and the toxic relationship she was in at the time. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
92% Blinded by the Light (2019) It's a big-hearted crowdpleaser that rollicks along at an irrepressibly giddy pace, but it's earnest to a fault; those with a low tolerance for corniness will struggle. - Observer (UK) EDIT
Read More | Posted Feb 3, 2019
100% Honey Boy (2019) The vulnerability, and indeed, the sincerity on display in LaBeouf's screenplay is genuinely moving. - Sight and Sound EDIT
Read More | Posted Jan 29, 2019
2/5 69% Beautiful Boy (2018) Mimicking the relapse-recovery cycle of addiction, the film's timeline moves in unsatisfying narrative circles that stall the already shallow stakes. - Observer (UK) EDIT
Read More | Posted Jan 20, 2019
5/5 97% Hale County This Morning, This Evening (2018) A lyrical meditation on the Black Belt experience, and the parameters of representing it... - Observer (UK) EDIT
Read More | Posted Jan 20, 2019
3/5 86% Monsters and Men (2018) Inevitably, some chapters work better than others but it's an interesting, sideways look at how violence can serve as a catalyst rather than a climax and how it can change - and galvanise - a community. - Observer (UK) EDIT
Read More | Posted Jan 20, 2019
3/5 37% Glass (2019) The metaphors are messy (trauma makes people extraordinary?) and the pacing's off, but it's fun to see the individual films' universes crossing over. - Observer (UK) EDIT
Read More | Posted Jan 20, 2019
2/5 31% Welcome to Marwen (2018) The film fetishises female strength, but only in its ability to prop up men; its women remain prettified empty shells. - Observer (UK) EDIT
Read More | Posted Dec 30, 2018
4/5 100% One Cut of the Dead (Kamera o tomeru na!) (2017) For a movie about the undead, Japanese director Shin'ichirô Ueda's horror comedy is certainly lively. - Observer (UK) EDIT
Read More | Posted Dec 30, 2018
4/5 93% Bumblebee (2018) Though the references are familiar, it's a fresh direction for the macho franchise. - Observer (UK) EDIT
Read More | Posted Dec 29, 2018
3/5 83% Polina (Polina, danser sa vie) (2017) [A] stylish coming-of-age story... - Observer (UK) EDIT
Read More | Posted Dec 23, 2018
2/5 52% Papillon (2018) Papi's protracted, chaotically paced setbacks begin to feel less like a test of his resilience than the viewer's. - Observer (UK) EDIT
Read More | Posted Dec 23, 2018
2/5 64% Lizzie (2018) A two-hander with actresses of this calibre should be a humdinger, but very little about this misjudged period drama works properly. - Observer (UK) EDIT
Read More | Posted Dec 23, 2018
4/5 94% 1985 (2018) Tan shoots stylishly in black and white 16mm, each frame a tasteful photograph. What's most skilful, though, is the way he succeeds in complicating archetypes. - Observer (UK) EDIT
Read More | Posted Dec 23, 2018
5/5 95% An Elephant Sitting Still (Da xiang xi di er zuo) (2018) The camera is mesmerising and frequently in motion, Steadicam trailing and circling the characters closely, with them until the film's bittersweet end. - Observer (UK) EDIT
Read More | Posted Dec 16, 2018
4/5 97% Spider-Man: Into the Spider-Verse (2018) There's lots to love here, not least the animation itself... - Observer (UK) EDIT
Read More | Posted Dec 16, 2018
2/5 26% Mortal Engines (2018) The film's critiques are unimaginative, tutting at how territories attack first in order to consolidate power, as well as the spectacle of war itself... - Observer (UK) EDIT
Read More | Posted Dec 16, 2018
2/5 65% Aquaman (2018) The film isn't totally unenjoyable, but it isn't particularly coherent either. - Observer (UK) EDIT
Read More | Posted Dec 16, 2018
3/5 95% A Cambodian Spring (2018) The film covers a fascinating period in Cambodian politics, but clocking in at two hours and split into several uneven chapters, it's inefficiently organised. - Guardian EDIT
Read More | Posted Dec 14, 2018
4/5 88% Ralph Breaks the Internet (2018) [A] charming buddy comedy... - Observer (UK) EDIT
Read More | Posted Dec 2, 2018
4/5 96% Three Identical Strangers (2018) [A] spry, endlessly watchable documentary... - Observer (UK) EDIT
Read More | Posted Dec 2, 2018
4/5 93% The Wild Pear Tree (Ahlat agaci) (2019) Ceylan is clever to expose the quietly conservative attitudes of a certain type of liberal young man. - Observer (UK) EDIT
Read More | Posted Dec 2, 2018
3/5 84% Disobedience (2018) Weisz and McAdams animate their roles; Weisz plays witty and wizened, while McAdams seems winded by the force of her own emotions, face crumpling convincingly into a cry. - Observer (UK) EDIT
Read More | Posted Dec 2, 2018
3/5 84% Creed II (2018) Jordan is the best thing about the film; vulnerable mouth and defiant, boyish attitude voice ("I'm dangerous!" he insists, voice cracking) telegraphing insecurity and impostor syndrome that feels lived in. - Observer (UK) EDIT
Read More | Posted Dec 1, 2018
4/5 100% Bros: After the Screaming Stops (2018) If their 1987 hit song When Will I Be Famous? is the call, this film is the bitterly ironic response. - Observer (UK) EDIT
Read More | Posted Nov 11, 2018
4/5 58% The Grinch (2018) Sounds like pure sugar, but really it's just sweet. - Observer (UK) EDIT
Read More | Posted Nov 11, 2018
2/5 81% Overlord (2018) This gory B-movie initially masquerades as a war film, but Nazi-occupied France is simply a convenient setting. - Observer (UK) EDIT
Read More | Posted Nov 11, 2018
3/5 94% Wildlife (2018) With the exception of Mulligan, whose sharp-edged performance begins to overpower the otherwise muted, rather mannered film, it feels too neatly mapped as a whole. - Observer (UK) EDIT
Read More | Posted Nov 11, 2018
4/5 91% The Ballad of Buster Scruggs (2018) As far as I can tell, these shorts have as much in common with the wearied soul of Inside Llewyn Davis (2013) or the playful, haphazard Hail, Caesar! (2016) as they do with the Coens' genre exercises. - Observer (UK) EDIT
Read More | Posted Nov 10, 2018
4/5 97% The Hate U Give (2018) Though it leans on the genre beats of melodrama to occasionally clunky effect in order to mine the audience's tears, it's impressive how it metabolises these moments of charged emotion in order to make its wider points. - Observer (UK) EDIT
Read More | Posted Oct 29, 2018
2/5 76% Utøya: July 22 (Utøya 22. Juli) (2018) The characters in the film are fictionalised but based on the accounts of real survivors; fine to protect their identities, but dubious to deliberately twist the narrative to create additional sympathy. - Observer (UK) EDIT
Read More | Posted Oct 29, 2018
2/5 76% Bad Reputation (2018) Jett says she wants to offer her fans "a primal release". A pity, then, that this film about her is so repressed. - Observer (UK) EDIT
Read More | Posted Oct 29, 2018
2/5 61% Bohemian Rhapsody (2018) Fans of the band might enjoy watching the movie cycle through their hits (and there are many), but those, like me, hoping for a more robust appraisal of the late Freddie Mercury may find themselves disappointed. - Observer (UK) EDIT
Read More | Posted Oct 27, 2018
3/5 75% Bad Times at the El Royale (2018) In its better moments, this studio oddity is a tense thriller, at its worst, draggy and self-indulgent. - Observer (UK) EDIT
Read More | Posted Oct 14, 2018
2/5 80% 22 July (2018) Harrowing to watch... yet offering little context and few fresh insights. - Observer (UK) EDIT
Read More | Posted Oct 14, 2018
3/5 76% Smallfoot (2018) The songs are a bum note, but the film does raise thoughtful questions about dogma, fake news and the identity crises that might occur once a community's core beliefs are challenged. - Observer (UK) EDIT
Read More | Posted Oct 14, 2018