thu 03/04/2025

Film Reviews

Breathing

Jasper Rees

This one sounds like a hard sell: a muted, taciturn, cautious film from Austria about a friendless boy in a young offenders’ institution who takes a job working for the municipal undertakers. Breathing (original title: Atmen) would appear at first glance modest in scope and gloomy in outlook. But whatever the odds stacked against it, this quiet, observational debut from Karl Markovics turns out to pack a discreetly powerful punch.

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Town of Runners

ASH Smyth

Footage of wiry East African men and women breaking the tape in marathons and distance track-events is now more or less synonymous with the highest achievements in top-level sport, and it won’t come as a surprise to those who’ve lived through more than a couple of cycles of the Olympic Games to be reminded that the medal-winners in the long-distance running events are no longer, generally speaking, from “round here”.

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The Bad and the Beautiful

Jasper Rees

In the golden age of the movies that was 1952, The Bad and the Beautiful must have seemed quite a radical attack on the industry.

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Salmon Fishing in the Yemen

Jasper Rees

Getting on for three decades ago Lasse Hallström was introduced to audiences outside his native Sweden with My Life As a Dog. An emotionally continent, directorially restrained picture of the pains and pleasures of a rural childhood, it was Hallström’s ticket to Hollywood.

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Battleship

Adam Sweeting

"Find your inner soldier and stop the alien threat before it's too late!" runs the blurb for Hasbro's Battleship computer game. The movie of the game seizes this basic idea by the scruff of the neck, and pumps it up into a cacophonous effects-crammed military yarn with a deafening heavy metal soundtrack. Alien forces have landed in the Pacific, and the US Navy is forced to fight Pearl Harbor II.

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The Gospel of Us

Dylan Moore

The Gospel of Us is a film about remembering. It is based on and was filmed at The Passion of Port Talbot, Michael Sheen’s triumphant theatre-event that took over his home town in south Wales to retell the Easter story this time last year. Writer Owen Sheers has novelised The Passion as The Gospel of Us.

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The Cabin in the Woods

Emma Simmonds

Like an adrenalin injection straight to the heart of a flagging horror genre, The Cabin in the Woods is fresh, funny and teeming with deliciously nasty surprises which - have no fear - will not be revealed to you here. Although it’s helmed by first-time director Drew Goddard (the Cloverfield scribe and co-producer of Lost and Alias), for many the key name attached to The Cabin in the Woods will be Joss Whedon, the film’s co-writer and producer.

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Le Havre

Emma Simmonds

“Feel good” is a description applied far too frequently in reviews, often to movies which are formulaic and saccharine in the extreme. However, Le Havre is a film that’s begging to be described as just that, though it’s far from conventional or fluffy fare. This buoyantly beneficent and frequently hilarious picture combines artful absurdity and a neo-noir aesthetic with a pervasive sense of social justice and a laudable belief in the kindness of strangers.

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This Must Be The Place

Emma Dibdin

“There’s something wrong here. I don’t know exactly what it is, but something.” It’s no coincidence that this line bookends Paolo Sorrentino’s much-anticipated English language debut – it's a beguilingly strange, distancing, even discombobulating venture, at times gently lyrical, at others nightmarish. While there is indeed something about it that feels wrong, a more accurate turn of phrase might be that there’s something missing here.

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Headhunters

Adam Sweeting

Despite being called Roger Brown, the protagonist of Morten Tyldum's wickedly stylish and knowing thriller (adapted from Jo Nesbø's bestseller) is Norwegian, and earns himself a comfortable living as a corporate headhunter. Prowling the coolly minimalist boardrooms and restaurants of a seemingly recession-proof Scandinavia, Brown (Aksel Hennie) tracks his fat-cat candidates with smarmy knowingness, congratulating himself on his mastery of his own private game.

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Mirror Mirror

Matt Wolf

Some gorgeous costumes get paraded about to little effect in Mirror Mirror, the latest in a series of Julia Roberts star vehicles to make one wonder whether this A-list thesp's management is actually out to torpedo her career. A terrific actress in material that actually asks something of her, Roberts looks irritated by her latest assignment in a wan Snow White rewrite, and who can blame her?

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Wrath of the Titans

Adam Sweeting

It sounded like a good idea at the time - go and see colossal special-effects epic at an IMAX cinema in 3D. There was even a fleeting pre-show visit from the stars, Liam Neeson and Sam Worthington, who play Zeus and his son Perseus respectively. However, having just about managed to say "Hello, enjoy the film," the pair of them couldn't get out of there fast enough.

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Corpo Celeste

william Ward

Now here is something genuinely original and genuinely innovative coming out of Italian cinema, a very welcome surprise. Alice Rohrwacher’s debut feature film has a freshness of outlook and a sharpness of overview that could put many of her more venerable rivals in Italy to shame. 

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This is Not a Film

Fisun Güner

With only a modest, handheld camera and an iPhone at his disposal, the internationally acclaimed Iranian director Jafar Panahi shot this film in secret whilst under house arrest. His close friend, and co-director of this film, Mojtaba Mirtahmasb, then smuggled it into France hidden in a cake as a last-minute submission to Cannes last year.

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Tiny Furniture

Emma Simmonds

Perfectly peculiar and as cute as can be, Tiny Furniture is the second film from writer/director Lena Dunham. Her first, Creative Nonfiction (2009), was based on her own romantic woes, shot whilst she was attending college and featured a cast of non-professionals - mostly her friends.

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Bonsai

Demetrios Matheou

One of the most refreshing aspects of current Latin American cinema, most evident in Argentina, Uruguay and Chile, is a particular brand of off-beat romantic comedy – one with echoes of the literate and quirky US independents of the Eighties and Nineties, of Hartley, Jarmusch and Tom DiCillo, but laced with melancholy and shards of realism that are specifically Latin.

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