White Noise (2022) Review
Noah Baumbach, the filmmaker behind ‘Marriage Story’, adapts Don DeLillo’s “White Noise” into a timely and darkly funny Netflix Original film starring Adam Driver. Review by Emi Grant.
Read MoreNoah Baumbach, the filmmaker behind ‘Marriage Story’, adapts Don DeLillo’s “White Noise” into a timely and darkly funny Netflix Original film starring Adam Driver. Review by Emi Grant.
Read MoreJames Cameron’s sequel thirteen years in the making, ‘Avatar: The Way of Water’ (2022), looks “absolutely gorgeous” but lacks the originality of the first ‘Avatar’. Review by Kieran Judge.
Read MoreCinema and Social Justice Project short film ‘Cost of Living’ (2022) is an emotive contextualisation of our contemporary struggle through archive footage. Review by Joseph Wade.
Read More‘Guillermo del Toro’s Pinocchio’ (2022) is a vivid and hard-hitting reimagining of a classic story, presented in stop-motion animation for Netflix. Review by Sam Sewell-Peterson.
Read MoreTo David Harbour’s rendition of Santa Claus in the delightfully subversive ‘Violent Night’ (2022), Christmas is about “getting violently drunk and kicking ass”. Review by Emi Grant.
Read More“Anyone feeling especially nostalgic for 2009 will have a field day” with Netflix’s “time machine flick” ‘Falling for Christmas’ (2022), starring Lindsay Lohan. Review by Emi Grant.
Read MoreMark Mylod feature ‘The Menu’ (2022), starring Anya Taylor-Joy and Ralph Fiennes, “is a gory, grimy look at capitalism”, but we’ve seen it all before. Review by Emi Grant.
Read MoreRyan Coogler’s ‘Black Panther’ Marvel sequel ‘Black Panther: Wakanda Forever’ makes a heartfelt connection and delivers memorable action. Review by Sam Sewell-Peterson.
Read MoreHarry Styles is at the head of an ensemble cast for Michael Grandage’s understated LGBTQ+ romantic drama ‘My Policeman’ (2022). Review by Emi Grant.
Read More‘The Son’ (2022), starring Hugh Jackman and Laura Dern, sees sophomore director Florian Zeller attempting to recapture the magic of his debut ‘The Father’. Review by Jake Gill.
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