fri 05/09/2025

Film Reviews

Tornado review - samurai swordswoman takes Scotland by storm

Justine Elias

The opening images of Tornado are striking. A wild-haired young woman in Japanese peasant garb runs for her life through a barren forest and across burnt-orange fields. As her pursuers, a rough-looking band of thieves, draw nearer, she seeks refuge in a seemingly deserted mansion. Where are we? When are we?

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Lollipop review - a family torn apart

Graham Fuller

On leaving prison, Lollipop’s thirtyish single mum Molly discovers that reclaiming her kids from social care is akin to doing lengths in a shark-infested swimming pool teeming with naval mines. 

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Jane Austen Wrecked My Life review - persuading us that the French can do you-know-who

James Saynor

Do the French do irony? Well, was Astérix a Gaul? Obviously they do, and do it pretty well to judge by many of their movies down the decades. As we brave the salutes on this side of the Channel to arch irony-spinner Jane Austen’s 250th birth-year – from gushing BBC documentaries to actually quite witty Hallmark cable movies – France offers up Jane Austen Wrecked My Life, a cordial, low-energy rom com that sets out to Austenify the lovelorn of Paris.

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Big Star: The Nick Skelton Story review - the ways of a man with his mount

Justine Elias

If you’re horse mad or merely an every-four-years Olympic fan, you already know Nick Skelton’s story. Equestrianism can favour mature competitors, but Skelton was twice the age of his rivals. He'd survived numerous injuries – including a broken neck – by the time he propelled Britain to showjumping gold in 2012. Fifty-four at the London games, he wasn’t done. Both he and his horse Big Star returned to the Olympics four years later to win the individual gold medal.

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Ballerina review - hollow point

Nick Hasted

John Wick’s simple story of a man and his dog became a bonkers, baroque franchise in record time, converting Keanu Reeves’ limited acting into Zen killer cool. Now Ana de Armas extends her delightful No Time to Die cameo as a high-kicking, cocktail-dressed MI6 agent into her own heroic assassin.

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Goebbels and the Führer review - behind the scenes from the Nazi perpetrators' perspective

Markie Robson-Scott

“Do you know the name of the propaganda minister of England, or America, or even Stalin? No. But Joseph Goebbels? Everyone knows him.” The cynical, grinning Dr Goebbels (Robert Stadlober), perhaps the first master of fake news, is not short on confidence.

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The Ballad of Wallis Island review - the healing power of the old songs

Anthony Cecil

I think The Ballad of Wallis Island is the best British romcom since I Know Where I’m Going! (1945), which it closely resembles.

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The Salt Path review - the transformative power of nature

Markie Robson-Scott

“I can’t move my arms or legs, but apart from that I’m good to go.” Moth (Jason Isaacs) has to be pulled out of the tent in his sleeping bag by his wife Ray (Gillian Anderson). And this is only the second day of their 630-mile walk, split into two summers, along the south-west coastal path from Minehead to South Haven Point.

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Bogancloch review - every frame a work of art

Sarah Kent

Director Ben Rivers is primarily an artist, and it shows. Every frame of Bogancloch is treated as a work of art and the viewer is given ample time to relish the beauty of the framing, lighting and composition. Many of the shots fall into traditional categories such as still life, landscape and portraiture and would work equally well as photographs.

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When the Light Breaks review - only lovers left alive

Nick Hasted

Grief takes unexpected turns over the course of a long Icelandic day in Rúnar Rúnarsson’s romantic tragedy, a Prix Un Certain Regard contender at last year’s Cannes.

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Mongrel review - deeply empathetic filmmaking from Taiwan

Harry Thorfinn-

There is a dark, spectral quality to this compassionate film about Southeast Asian migrant workers in rural Taiwan. At the centre of this story is Oom, played with quiet stoicism by Wanlop Rungkumjad, who is one of many Thai, Cambodian and Myanmar nationals who have entered Taiwan illegally to find care work in its remote mountainous regions. 

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The Phoenician Scheme review - further adventures in the idiosyncratic world of Wes Anderson

Adam Sweeting

It’s not what he says, it’s the way he says it. Few filmmakers have bent the term “auteur” to their own ends more boldly than Wes Anderson, whose arresting visual style, oblique wit and skill in picking actors who can mould themselves to the unique demands of Wes-world is surely unequalled.

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Mission: Impossible - The Final Reckoning review - can this really be the end for Ethan Hunt?

Adam Sweeting

Whether it is or isn’t the final Mission: Impossible film, there’s a distinct fin-de-siècle feel about this eighth instalment, and not only because of its title. An early scene brings a nostalgic recap of highlights from the series’ history (which stretches back to 1996), with a voice-over from Angela Bassett’s President Sloane (pictured below) pleading with Ethan Hunt to return to save the world one more time.

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Magic Farm review - numpties from the Nineties

James Saynor

There’s nothing more healthy than dissing your own dad, and filmmaker Amalia Ulman says that her old man was “a Gen X deadbeat edgelord skater” when she was growing up in the 1990s. The phrase brings the half-forgotten world of Generation X back to us from the mists of time, with its slackers and Douglas Coupland books and mumbling evasions.

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Good One review - a life lesson in the wild with her dad and his pal

Graham Fuller

Good One is a generation-and-gender gap drama that mostly unfolds during a weekend hiking and camping trip in the Catskills Forest Preserve in upstate New York.

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E.1027 - Eileen Gray and the House by the Sea review - dull docu-fiction take on the designer-architect

Saskia Baron

It’s hard to say who is going to enjoy E.1027 – Eileen Gray and the House by the Sea. Admirers of the modernist designer-architect will be frustrated by how little of her other work is actually visible on screen while fans of feminist biopics might well be underwhelmed by the film’s languid pace and arty flourishes. 

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