Film

You come at the king, you bet­ter not miss – but unfor­tu­nate­ly, Yung Felon (A$AP Rocky), an aspir­ing rap­per and first-time kid­nap­per, who meant to abduct the son and heir of hip-hop mogul David King (Den­zel Wash­ing­ton), acci­den­tal­ly grabbed the chauffeur’s boy instead. No mat­ter, he still wants 17.5 mil­lion Swiss francs – cash, unmarked,

The sight of Jodie Fos­ter speak­ing flu­ent French is the most engag­ing ele­ment of this limp and con­vo­lut­ed psy­chodra­ma from the usu­al­ly reli­able Rebec­ca Zlo­tows­ki. Fos­ter plays apsy­chi­a­trist named Lil­lian Stein­er who we meet just before she storms upstairs to tell her neigh­bour to turn down the vol­ume on ​‘Psy­cho Killer’ by The Talk­ingHeads. Soon

You’d be right to want to exact cold revenge on aper­son who tor­tured you and plant­ed night­mare imagery of death and suf­fer­ing in your mind for life. Yet would you go so far as to mur­der them for the greater good, as penance for not only your own trau­ma, but for the many oth­ers who

The Acad­e­my Awards may be aglitzy par­ty with an arbi­trary approach to dish­ing out Oscars but, with­in the cir­cus, are moments of grav­i­tas. Lás­zló Nemes is the embod­i­ment of grav­i­tas. His debutfea­ture,Son of Saul, is arelent­less immer­sion in the quest of aJew­ish pris­on­er whose job, in 1944, is to clear Auschwitz’s gas cham­bers of thedead.

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Aylin Tezel writes, directs and stars alongside Chris Fulton in this meet-cute romantic drama set between London and the Isle of Skye. Someone has been reading a little too much Sally Rooney, and that someone is director/writer and star Aylin Tezel, whose ambitious debut feature, Falling Into Place, plays like a finely-honed piece of Rooney-core

Kei Pritsker and Michael T Workman chronicle the student movement for Palestine through the Gaza Solidarity Encampment at Columbia University. With documentaries exploring very recent events, filmmakers can source all the relevant footage and interviews needed in a short period of time. But conventional wisdom suggests that the longer you spend grappling with your subject,

Predators and prey share the same terrain in this psychologically twisted shark thriller from genre filmmaker Sean Byrne. Near the beginning of Sean Byrne’s Dangerous Animals, Surfers Paradise local Moses (Josh Heuston) asks American free spirit Zephyr (Hassie Harrison) if she likes the aisle or the window seat. It is is his way of getting

Comedian collaborators Tim Key and Tom Basden co-write and co-star in James Griffiths’ pleasant bromance flick. “No man is an island,” so goes the poem by John Donne, which was an idea resolutely rejected by Hugh Grant’s dedicated bachelor in the adaptation of Nick Hornby’s About a Boy who stated, “I am an island. I

Katell Quillévéré’s poetic French period drama is powered by an understated chemistry between Anaïs Demoustier and Vincent Lacoste. At a funeral, a character reads out the deceased’s favourite poem; it’s a blazing, lonely love poem that articulates the private space where passions light up the night. “For where secrets exist, life also begins,” says the

Al Pacino and Dan Stevens can’t save this awful excuse for an exorcism thriller. The release of a new exorcism movie has become a rather mundane ritual, but the latest, unimaginatively named The Ritual, follows in the footsteps of recent Russell Crowe vehicles The Pope’s Exorcist and The Exorcism by luring an unlikely older star

The lure of the Scottish wilderness was too much to resist as Ben Rivers returns there for his latest feature. In his 2011 film Two Years at Sea, artist/filmmaker Ben Rivers decamped to Scottish wilds with his hand-cranked 16mm camera and hung out with a bearded loner named Jake Williams. The film did little more

Love and humour gives way to bitterness and rancour in this slick and involving portrait of an Iranian family in turmoil from Saeed Roustaee. It’s hard to imagine that you could go from loving a person deeply to loathing their guts and wanting them dead within a matter of seconds. Yet that sorry notion sits

Belgium’s Dardenne brothers return with a typically emotive film about a group of very young women dealing with the dramas of childbirth. The opening ceremony of this year’s Cannes Film Festival acknowledged the recent death, at just 43 years of age, of Émilie Dequenne, who won Best Actress for her role as the title character

The second instalment of Ethan Coen and Tricia Cooke’s lesbian genre film trilogy manages to just about snag a passing grade. Ethan Coen has earned the right to do whatever the hell he wants when it comes to making art. Whether that translates to whatever the hell WE, the audience, want is another matter entirely,

Sebastián Lelio’s musical take on Chile’s MeToo movement is a misjudged gum-smacking mess. There is a delicate threshold separating self-awareness from petulance, and the directors who know how to best thread it understand that saying less often does the most. With The Wave, Sebastián Lelio offers a staunch, loud example of the opposite, crafting a

As her debut receives a UK premiere as part of the BFI’s Black Debutants season, Miami filmmaker Monica Sorelle reflects on the making of Mountains. For the people who live in South Florida, everything seems in flux. Every bit of landscape, every building we cherish, every person we walk by – they all seem to

We speak to the mastermind behind The Phoenician Scheme about family, fathers-in-law, and the great, grand plan of all things Wes Anderson. The Phoenician Scheme marks Wes Anderson’s twelfth feature film, starring Benicio Del Toro as Zsa-zsa Korda, a rich, ruthless businessman who sets out on a complex journey to secure his legacy with his

An art theft spells disaster for Josh O’Connor in Kelly Reichardt’s excellent Vietnam-era heist dramedy. It’s difficult to say what truly motivates James Blaine Mooney (Josh O’Connor) to blow up his own life. Frustration, perhaps, with an uninspired suburban existance with his wife Terri (Alana Haim) and their two rambunctious sons Tommy and Carl (Jasper

Bi Gan’s third feature is an epic in every sense of the word, taking viewers on a sprawling odyssey through cinema. Bi Gan’sResurrectionopens with a title card that sets the scene for his third feature: we’re in a future where the secret to eternal life has been discovered. It’s simple – don’t dream! Humans who