Film reviews

Jonathan Glazer's first film since 2013's Under The Skin places family-home utopia next to the abject horror of the Holocaust.

Scorsese films often fall victim to some of their audience only seeing the cooler elements of characters. No such problem here, as the villains are some of the most vile, pathetic and callous central characters he has ever focused on.

While Barbie and Oppenheimer are completely at odds tonally, they share a bleak, existential view of the world. But make sure you see them on different days...

This beautifully crafted and uplifting film charts the journey of a group of young Sheffield migrants who build connection and community through creative expression.

Ari Aster’s latest film takes the form of an odyssey through a man’s neuroses – with varying results.

Womanhood, ego, passion and greed are explored in Todd Field's masterful tale, which belongs in the genre of ‘are we sure this isn’t a biopic?’

Amidst ongoing global protests, Ali Abbasi’s graphic crime thriller is a reminder of the long-standing struggle for justice and women’s rights in Iran.

François Ozon’s revealing ode to Rainer Werner Fassbinder explores the relationship between a man and his protégé – with about as much subtlety as a gunshot.

Charlotte Wells’ seemingly light-hearted holiday film poignantly deals with the topics of maturing and a bound-to-crumble father-daughter relationship.

Michella Garza Cervera’s directorial debut is a slow burn that shines brightly, asking difficult questions about motherhood.

Andy Mitton’s latest offering is a horror film that focuses on the coronavirus pandemic – but in ways you wouldn’t expect.

Roald Dahl's Matilda The Musical is now a film, but is its fantastical depiction of England too twee? Isy Barrs finds out.

A queer story takes place in an intense, obsessive atmosphere. D. M. Palmer reviews The Novice, screening at the Showroom until Thursday.

Looking at patriarchy and social norms in Kosovo in the wake of war, the meditative pacing and sensitive direction of Blerta Basholli’s Hive allow it to be inspirational without moralising.

Fred Baillif's 'The Fam' is raw, restless and natural, getting close to its subjects in a way that the institution tasked with protecting them cannot.

This trio of short stories approaches the heights of Happy Hour. It's also far more affecting and closely felt than Drive My Car, while clocking in at a comparatively slim two hours.

After a decade’s absence, this circus of spectacle exceeds expectations with an incredible amount of heart and genuine showmanship.

Joel Coen’s debut cinematic venture without his brother Ethan is far from a midsummer night’s dream: it’s a harrowing liminal nightmare.

Stephen Graham walks the knife's edge in Philip Barantini's turbulent drama set in a London bistro kitchen, shot in a single take.

The latest film from obvious-genius auteur Paul Thomas Anderson is sweet, charming, fun but also undeniably strange, even queasy.