Reviews

Happy Valentine's Weekend From the Nicholas Sparks Factory

Soderbergh Exits the Big Screen At Less Than His Best

Bond, Born Again

Seven Psychopaths is as irreverent a send up of crime films as you could hope for, buoyed by genuine moments of emotion and being by far the funniest movie of the year.

This light comedy straddles a strange line between anti-romcom and coming of age story, but its real charm lies in the truth of its look into who and what a comedian is.

Another entertaining escape into the world of loud music and elaborate dance routines, Step Up Revolution stumbles more through failing to live up to its presumptions of social relevance than any technical faults, settling for being simply vapid and fun.

As sun-baked and drug-fuelled a noir as you’ll ever find, Savages is a glorious mess of gritty violence, moral decay, and near-camp social commentary. It’s not perfect and barely sane, but it cuts a swath across its many targets with a confidence director Oliver Stone hasn’t shown in some time.

The World May End, But the Rom-Com Cliches Don’t

A Genuinely Original Indie

The second of this year’s Snow White adaptations manages to not only bring nothing new to the table, but does it by shamelessly stealing from every other fantasy movie and show you undoubtedly enjoyed more the first time.

A time travel story with no time travel, Sound of My Voice is intimate science fiction with only one concern: constructing a smart, incredibly acted puzzle for viewers to lose themselves in.

Silent House cheats a bit, both in terms of its plot and its single-take achievement, but it's still a fascinating film to watch.

Were it not for the always transfixing presence of Denzel Washington, Safe House would be just another unremarkable CIA thriller to toss on the heap.

A confusing and poorly-plotted sequel to 2009's surprise hit, Game Of Shadows retains little of its predecessor's charm.

The hollow despair of sexual addiction is tremendously captured by Michael Fassbender's phenomenal performance.