We Are The Weirdos (2019)
We Are The Weirdos 2019, woman-directed shorts presented by The Final Girls feminist film collective, showcases the most exciting new female voices in genre cinema from around the world.
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A Private War (2018)
★★★☆☆
Rosamund Pike in Matthew Heineman’s A Private War is a perfect incarnation of the legendarily fearless war reporter Marie Colvin.
Burning (2018)
★★★★☆
Burning is an elliptical, deceptive thriller directed by Lee Chang-dong that’s rooted in Korean class and income inequalities.
Vice (2018)
★★★★☆
The career of notorious US Vice-President Dick Cheney is given The Big Short treatment by Adam McKay in dark satire Vice.
Colette (2018)
★★★★☆
As French cultural icon Colette, Keira Knightley charms and shocks in 19th century Paris in Wash Westmoreland’s intriguing biopic.
Stan & Ollie (2018)
★★★★☆
Steve Coogan and John C Reilly excel as Stan & Ollie in Jon S Baird’s bittersweet biopic of the end of a comedy duo – and an era.
Lizzie (2018)
★★★★☆
Chloe Sevigny strikes her axe blows against an oppressive patriarchy in Craig William Macneill’s Lizzie – with superb support from Kristen Stewart.
Sorry to Bother You (2018)
★★★☆☆
Sorry to Bother You, the stunningly accomplished debut feature film by rapper Boots Riley, is a satirical morality tale about workplace culture, black exploitation and rampant capitalism.
3 Days in Quiberon (2018)
★★★★☆
3 Days in Quiberon by Emily Atef is a compelling slice of a few days in the life of actress Romy Schneider as she gives her last interview.
They Shall Not Grow Old (2018)
★★★★☆
They Shall Not Grow Old, Peter Jackson’s homage to his grandfather is a technically brilliant remastering, colouring and voicing of First World War footage into 3D to show the horror and futility of war for its ordinary foot soldiers.
Widows (2018)
★★★★☆
Steve McQueen’s Widows is a hugely entertaining, violent, female-centred heist thriller that starts with a bang and never lets up thanks to co-screenwriter Gone Girl’s Gillian Lynn’s reimagination of Lynda LaPlante’s 1983 TV series.
BFI LFF Review: The White Crow (2018)
★★★☆☆
Art and politics are uneasy bedfellows in The White Crow, David Hare’s story of ballet and defection, a directorial debut for Ralph Fiennes.
Anchor & Hope (2017)
★★★★☆
Anchor & Hope is a fresh and funny romcom by Carlos Marqués-Marcet, director of 10,000 km, about the different kinds of lifestyles that people who really care for each other can make for themselves.
The Guilty (Den skyldige) (2018)
★★★★☆
Set in a down-beat, dark emergency call centre, The Guilty is a Danish thriller directed by Gustav Möller that takes place in claustrophobic real time, centred on a single character.