 |
 |
In a manner reminiscent of Billy Wilder’s Sunset Boulevard (1950), Ole Bornedal’s riveting thriller Just Another Love Story (2007) opens with the death of its narrator, who detachedly comments on his dramatic demise as it occurs on-screen.
Review by Pamela Jahn
Frances Morgan and David Warwick give their views on Lars von Trier’s controversial new film.
The winner of the Michael Powell award for best new British feature film at this year’s Edinburgh Film Festival, Duncan Jones’s independent debut feature is a fascinating and visually stunning sci-fi film that explores the alienation and bitter loneliness of space, as well as the very essence of the human condition.
Review by Sarah Cronin
Roger Corman’s Bloody Mama is loosely based on the true story of Kate ‘Ma’ Barker and her criminal offspring, whose exploits in the American Midwest from the early 1920s to the mid-1930s led to avid media coverage.
Review by John Berra
Parade is very different from Tati’s other films. It is ostensibly a real-time documentary record of a circus performance in a Swedish cinema.
Review by Peter Momtchiloff
June sees the DVD release of Gerald McMorrow’s Franklyn, an inventive, genre-defying debut that demonstrates the ambitions of new British cinema.
Review by Virginie Sélavy
The Disappeared a ghost story at heart and, while not entirely original, Kervokian shows plenty of talent for building a creeping sense of terror and delivering genuinely heart-in-your-mouth shocks.
Review by Toby Weidmann
Screening as part of the ICA’s New British Cinema strand this month is The Blue Tower, the blistering debut from Smita Bhide, which won the best UK feature award at last year’s Raindance Film Festival.
Review by James Merchant
Fred Cavayé’s debut thriller delivers a unique slice of Gallic escapism.
Review by Toby Weidmann
The BFI’s new Flipside strand unearths overlooked and obscure British films, but the almost-swinging 1960s presented in London in the Raw (1964) and Primitive London (1965) is a version of the myth we know well already.
Review by Frances Morgan