fri 12/09/2025

Film Reviews

School of Babel

Kieron Tyler

“God isn’t in this class, we’ll leave God outside.” Although teacher Brigitte Cervoni declares that matters of religion are not appropriate for her class of non-French children learning the language of their new country, a lengthy section of School of Babel nonetheless finds them debating Adam and Eve and the differences between faiths. It’s not the only disconnect in director Julie Bertuccelli’s documentary.

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Eastern Boys

Tom Birchenough

Eastern Boys is a disturbing film. Robin Campillo’s second feature as director catches the often aggressive world of immigrant grifters in Paris – they’re a gang of young men largely from the former Soviet Union – and their interaction with the society that surrounds them, through prostitution and crime.

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Hockney

Marina Vaizey

David Hockney was continually rejuvenated by his transatlantic commuting.

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Stations of the Cross

Tom Birchenough

There is ice at the heart of German director’s Dietrich Brueggemann’s Stations of the Cross (Kreuzweg). Winner of this year’s Berlinale Silver Bear for best script – the director wrote the film in collaboration with his sister Anna – it’s a chilling look into the psychology of extreme religion, in this case very traditional Catholicism, set in small town Germany. Formally impressive, it’s unsparing in its point of view in telling a tragic tale.

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Concerning Violence

Tom Birchenough

In Concerning Violence Göran Hugo Olsson has created an almanac documentary drawing on material from Swedish television archives, filmed by a number of directors in Africa, largely in the 1970s.

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My Old Lady

Matt Wolf

An Off Broadway play that largely passed without notice in 2002 is now a movie poised to suffer the same fate, notwithstanding the fact that this starry three-hander marks the film directing debut of the prolific American dramatist Israel Horovitz, at the age of 75.

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Winter Sleep

Tom Birchenough

This year’s Palme d’Or winner at Cannes, Turkish master Nuri Bilge Ceylan’s Winter Sleep (Kiş Uykusu), is a monumental film. Not merely in its scale – though at 196 minutes, it certainly clocks in on that front – but in its emotional heft.

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What We Do in the Shadows

Veronica Lee

Clearly the makers of this delightful film from New Zealand have watched a lot of movies, as so many are neatly and obliquely referenced – Nosferatu, The Blair Witch Project, The Lost Boys, Grease, to name just a few - in a comic tale about a group of vampires in Wellington.

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The Hunger Games: Mockingjay - Part One

Emma Dibdin

Fortune, as a rule, does not favour Part Threes. Hollywood history is replete with sequels that outstrip their predecessors, but second sequels have an altogether patchier track record – for every Return of the King, there are five Spider-Man 3s.

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The Homesman

Emma Simmonds

Taking inspiration from classic westerns even as it vigorously sets itself apart, The Homesman combines the taciturn and muscular with a feminist bent, and manages to be stirring and sweeping while also embracing the odd. It's a gorgeous, painfully sad tale of a man who's been nothing but a disappointment to himself and a woman constantly disappointed by others who, together, shepherd three lost souls on a desperately treacherous journey.

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Get On Up

Ellin Stein

James Brown has always been on my Desert Island Discs list, because, should despair threaten, his brand of propulsive funk could be guaranteed to make the castaway "Get Up Offa That Thing". But despite a compelling performance from Chadwick Boseman that vividly captures Brown’s blend of charisma, drive, self-absorption and business savvy, the film is short on Brown’s most defining characteristic – vitality.

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Diplomacy

Graham Fuller

More frequently and accessibly than his fellow veteran directors of the New German Cinema, Volker Schlöndorff has captured the pandemonium wrought by Nazism – in in his Palme d’Or-sharing masterpiece The Tin Drum (1979), its quasi-sequel The Ogre (1996), and The Ninth Day (2004).

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Life Itself

Katherine McLaughlin

In keeping with his impressive body of work, acclaimed documentary filmmaker Steve James approaches the details of the life of film critic Roger Ebert with honesty and the utmost respect. James was granted unprecedented access to Ebert in the final stages of his life in December 2012, just after he had been admitted to hospital for a hip-bone fracture.

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The Drop

Adam Sweeting

Derived from a Dennis Lehane short story called Animal Rescue, at one level The Drop is indeed a tale of one man and his dog, a pit bull puppy rescued from a dustbin in Brooklyn. But given the opportunity to develop the story into a screenplay for Belgian director Michaël R Roskam (of Bullhead fame), Lehane has created a subtly detailed milieu of crushed hopes, pervasive fear and simmering criminality.

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The Imitation Game

Karen Krizanovich

“He should be on banknotes.” Benedict Cumberbatch has spoken of his character, real-life hero Alan Turing, as if he knew him. Turing, who died in 1954, was the father of computing and, more importantly, a secret WWII hero as told in The Imitation Game.

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The Possibilities are Endless

Nick Hasted

Rock music excessively rewards its pretty young corpses. Edwyn Collins’ survival, like Wilko Johnson’s, is much more remarkable. Two massive strokes in 2005, when he was only 44, should really have finished the ex-Orange Juice singer. Edward Lovelace and James Hall’s film plunges us without preamble into the dramatised, subjective reality for Collins back then.

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