sun 19/10/2025

Film Reviews

The Light Between Oceans

Matt Wolf

Michael Fassbender and Alicia Vikander fell in love in real life while making The Light Between Oceans, which lends an extra dimension to a morose period weepie that needs every bit of excitement it can get. Reminiscent of the laboured celluloid romances of a bygone era that could once have starred Robert Taylor, the film is as vacuous as it is pretty, and if director Derek Cianfrance cut some of his stars' lingering glances, it would have the added virtue of being short....

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DVD/Blu-ray: Paris Blues

Kieron Tyler

The original 1961 poster for Paris Blues trumpeted it as “a love-spectacular so personally exciting you feel it’s happening to you”. Would it were actually thus. Instead, it’s ponderous and features a cast so obviously “acting” that any verve implied by being filmed in Paris and set in the world of jazz is missing in action. Paris Blues is worth seeing, but don’t expect the pulse to quicken.

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Doctor Strange

Saskia Baron

Aiming for the trippy qualities of The Matrix and Inception, Doctor Strange is possibly the most enjoyable Marvel foundation story since the first Iron Man, mixing wit with visual pyrotechnics.  Benedict Cumberbatch plays supercilious neurosurgeon Stephen Strange (wholly unrelated to the New Romantic singer responsible for “Fade to Grey”). A virtuoso of the scalpel,...

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I, Daniel Blake

Nick Hasted

Most of the crime Ken Loach investigates with compassion and humour happens off-screen right at the start. As the opening credits roll, a woman’s voice with sing-song affability perhaps appropriate to a child, if not for its bureaucratic, box-tick chill, asks Daniel Blake (Dave Johns) a sequence of questions wholly irrelevant to his problem.

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Ouija: Origin of Evil

Adam Sweeting

A prequel to Ouija (2014), Ouija: Origin of Evil zooms back to a mid-Sixties Los Angeles that's all miniskirts, white PVC boots, splendid chromed-up Chevrolets and Studebakers and clangy garage-band pop music. Our hosts are widowed mom Alice Zander (Elizabeth Reaser, of Twilight fame) and her daughters Lina (Annalise Basso) and Doris (Lulu Wilson). 

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Jack Reacher: Never Go Back

Adam Sweeting

Four years on from Tom Cruise's debut as Jack Reacher in Jack Reacher, here he is doing it again. Not a lot has changed. Cruise eerily continues not to age (does the Scientology robotics division know something we don't?), Jack Reacher is still the man from nowhere who mystically materialises when he's needed, and bad guys obligingly queue up to get their asses kicked and their noses broken.

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LFF 2016: Their Finest / Brimstone

Adam Sweeting

Among the myriad global offerings at the LFF, the resoundingly British Their Finest ★★★★★ , about a group of film-makers working for the Ministry of Information in London in...

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Inferno

Jasper Rees

Dan Brown is famed for calamitous language massacres that sell by the kerchillion to tone-deaf Renaissance cryptogram junkies. His sentences hurt eyes and his plots numb skulls. But one thing you can say for Brown is he checks facts like an obsessive-compulsive über-nerd. When the books are transplanted to the big screen, he gets less control over this stuff. The result, in Inferno, is unintentionally comical to anyone (which means pretty much everyone) who knows Florence.

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American Honey

Markie Robson-Scott

“It’s a business opportunity,” explains Jake (Shia LaBoeuf) to dreadlocked, wild-child Star (Sasha Lane). She’s eyeing him up in the aisles of a Midwestern Walmart while he dances around with a rag-tag, stoned young crew to Rihanna’s “We Found Love”. “We go door to door. We sell magazines. Come with us.” Sounds an unlikely proposition.

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LFF 2016: Snowden / The Birth of a Nation / Arrival

Adam Sweeting

As an old Sixties lefty brought up on thrillers like The Parallax View, Oliver Stone loves ripping open great American political conspiracies, and inevitably he portrays CIA whistleblower Edward Snowden as a noble crusader for free speech and democratic accountability against the might of America's intelligence agencies.

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On the road with Bob Dylan: the mother of all rockumentaries

mark Kidel

Dont Look Back is the Ur-rockumentary, the template for hundreds of hand-held rock tour films, a source of inspiration as well as a model to aspire to.

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LFF 2016: Elle/Paterson

Nick Hasted

Paul Verhoeven directing Isabelle Huppert as a woman seemingly unfazed by a violent rape sounds a recipe for outrage. Elle (★★★★) , though, provokes in subtle, lingering, sometimes comic ways. The rape of Michele (Huppert) mostly happens off-screen during the opening credits, though the ski-masked intruder’s violence in her plush, gated Paris house will be replayed as memory and fantasy.

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LFF 2016: A Monster Calls / A United Kingdom

Adam Sweeting

The cinema trailer for A Monster Calls ★★★★ looks faintly ludicrous, with its scenes of a giant tree stomping around the landscape, but don't be deceived.

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Blood Father

Adam Sweeting

Having been to Hollywood hell and back, Mel Gibson is perfectly placed to play the battered big daddy par excellence. Here he is, in the person of John Link, ex-jailbird on parole, recovering alcoholic and former outlaw biker, now eking out a living as a tattooist on a trailer park in the California desert. Weatherbeaten and bearded like an escapee from a jungle PoW camp, Link looks like a man a coin-toss away from extinction.

In his downbeat isolation, Link enjoys a little light...

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My Scientology Movie

Markie Robson-Scott

Can Louis Theroux bring anything new to the Scientology party? If you’ve seen Going Clear, Alex Gibney’s detailed documentary based on Lawrence Wright’s book, or watched Tom Cruise acting weird on YouTube, you already know that the Church’s great secrets are not so secret any more. We’ve heard about the aliens and the galaxies, the E-meters and the Operating Thetans, the elite Sea Org and the hellish conditions in the Hole.

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The Sleeping Beauty, Australian Ballet, cinema broadcast

Hanna Weibye

Australian Ballet's cinema broadcast on Tuesday night appears to have been a little under-publicised

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