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(1967) |
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"nostalgia is key in this loving pastiche of bygone horror. The outmodedness of the villains, even the corniness of the gags, only adds to the film's irresistible charms. It is a fitting swansong to the whole era of 'castle horror'"
[movie review] |
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Little White Lies |
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(2009) |
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"David Bowers' stunning CG landscapes... resonate with a chaotic bunch of half-realised ideas left floating in mid-air like Metro City itself. Yet for all the deficit of grounded substance... there is never a dull moment."
[movie review] |
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Little White Lies |
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3/5 |
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(2009) |
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"There are postmodern rewards aplenty here for the patient viewer."
[movie review] |
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Little White Lies |
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(2009) |
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"like one of the characters at the film's masked ball, The Princess And The Frog is the Disney film that pretends not to be a Disney film, but in the end cannot help lowering its mask and reverting to type."
[movie review] |
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Eye for Film |
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(2009) |
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"Seamlessly marrying the personal and the political, Adoration plots a labyrinthine course through all manner of millennial issues..."
[movie review] |
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Eye for Film |
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(2009) |
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"Cinema rarely comes more hard-hitting (in every sense) than this - and yet there is a real tenderness around its rough edges, as well as a disarming compassion for the sort of characters so easily dismissed as mere monsters."
[movie review] |
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musicOMH.com |
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(1977) |
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"too smart and funny, too self-aware and post-modern, to be truly scary - but its trippy energy and surreal unpredictability make it a film that takes up long-term residence in your consciousness anyway."
[movie review] |
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Little White Lies |
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(2009) |
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"while this film is full of all the bitterness, regret, jealousy, disappointment, deceit and awkward love that make up any family, it depicts these with a calm restraint and subtlety, excluding even the slightest hint of melodrama"
[movie review] |
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Little White Lies |
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(2010) |
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"There are hints at the sort of collective punishment so often rained down by Palestinians and Israelis upon one another, but really there are far broader concerns here in what is, in effect, a drama of divisions"
[movie review] |
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Eye for Film |
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(1971) |
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"more psychological melodrama than slasher.. Fright is a piece of history soon forgotten."
[movie review] |
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Little White Lies |
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(1977) |
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"an extravagantly stylised Danse Macabre... a surreally demented fairytale, and one of very few films that occupies the no-man's-land between charnel house and arthouse."
[movie review] |
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Little White Lies |
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"One family's catastrophe, filmed covertly to avoid a press ban, reflects a whole nation brought to its knees by a self-serving despot and his thuggish enforcers."
[movie review] |
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Little White Lies |
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(2005) |
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"allegorises the innocent joys, confused anxieties and newly awakening impulses of pre-pubescence, where the only certainty is that the innocence of the title, like the film itself, must eventually come to an end, even if only to begin all over again"
[movie review] |
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Eye for Film |
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(2009) |
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"manages to expand the candidates' relatively petty, self-made moral dilemmas into a broader discussion of the ethics of triage, but viewers will find themselves tested by much bickering, brawling and shrill overacting to get there."
[movie review] |
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Eye for Film |
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"all these alienation effects, fictive tricks and metacinematic games, right down to the reflexivity of the film-within-a-film, in the end serve less to distance The Portuguese Nun than to ally it to a sort of metaphysical quest"
[movie review] |
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Eye for Film |
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(2009) |
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"There is much in Avatar that is broadly drawn, clichéd even - but it is also these very things which might just earn it the status of a classic."
[movie review] |
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Eye for Film |
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(2004) |
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"a compressed fever dream of pop culture references, savvy commentary, and smutty innuendo, all bound together by Harvey's peppy cluelessness."
[movie review] |
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Eye for Film |
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(2009) |
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"The scant extras in this package will contribute little to your appreciation of the film itself... and you would need a few stiff drinks before finding yourself laughing out loud at much of this."
[dvd review] |
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Eye for Film |
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(2009) |
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"the extras themselves are, for all their brevity, as fun, beguiling and strange as the main feature"
[dvd review] |
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Eye for Film |
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(2009) |
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"Like the alien town of Glipforg at its core, Planet 51 offers attractions that are just a little too familiar to take the viewer out of this world."
[movie review] |
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Film4 |
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(2009) |
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"all at once an engrossing genre piece, an exceptional exercise in expansive adaptation, and a complex moral allegory, so that this is a Box that requires a lot of unpacking - which of course makes it the gift that keeps on giving..."
[movie review] |
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Eye for Film |
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(1972) |
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"...where shock, violence and disgust are presented as heroic responses to the status quo, and where revenge is an attitude born out of present sociopolitical iniquities."
[movie review] |
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Little White Lies |
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(1972) |
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"The very first act we see Itto perform is the Shogun-sanctioned beheading of a very young boy, immediately suggesting that there is something deeply wrong with the order that this Official Executioner is duty-bound to uphold"
[movie review] |
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Little White Lies |
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(1974) |
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"the last film in the series, White Heaven in Hell, holds the all-time record for the most on-screen deaths perpetrated by an individual character in a single film"
[movie review] |
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Little White Lies |
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(1989) |
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"It could be argued that the Apollo missions were essentially a big, expensive photo opportunity for the propaganda machine of the Cold War, but Reinert's film serves to remind us that they also redefined who, where and why we are."
[movie review] |
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Little White Lies |
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(2009) |
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"Bijou Phillips... lacks the presence let alone the gravitas to carry off the tragedy of having created her own monster, and so the film's examination of maternity and madness falls short"
[movie review] |
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Little White Lies |
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(2009) |
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"'non-car people' will find themselves forced into the position of disengaged anthropologist, observing all the vehicular bump and grind without gaining any real insight or emotional connection from the experience."
[movie review] |
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Eye for Film |
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4.5/5 |
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"This 'unmaking-of' documentary is as mesmerisingly compelling as its subject might have been, and adds some splendidly disorienting reels to the cinema of anxiety. Unmissable - even if we all missed the film at its centre."
[movie review] |
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Film4 |
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(2009) |
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"Demarbre's direction is at times clunkily pedestrian, but there is definitely something to the film's genetic themes and ambiguous ending that might just broaden the horizons of any Greene fans who have come expecting another Twilight"
[movie review] |
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Little White Lies |
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(2009) |
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"it abandons these models of action, comedy and the supernatural, preferring instead to root its horror in the grimly realistic human drama of four random wanderers gradually losing everyone and everything that they hold dear."
[movie review] |
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Eye for Film |
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(2009) |
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"Occupying similar territory to Heathers (1988), Ginger Snaps (2000) and Teeth (2007), Karyn Kusama's film is sharp, witty and diabolically funny"
[movie review] |
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Eye for Film |
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(2009) |
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"amid all its man-traps, macho posturing and monetary moralising, this is an overfamiliar exercise in by-numbers filmmaking that always seems merely to be coasting on auto-pilot. No wonder it took the wrong turn..."
[movie review] |
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Eye for Film |
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(2009) |
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"As always, Romero uses his zombie framework to expose the monstrousness of the living, in this case focusing on the (self-)destructive human need for divisive lines in the sand."
[movie review] |
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Eye for Film |
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3.5/5 |
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"A Tokyo Story (or six) about urban alienation - although Ozu never thought to include a talking penis in his oeuvre. Masayuki Miyano's debut may be flashily outrageous and upbeat, but its laughs are rooted in the misery of modern humanity."
[movie review] |
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Film4 |
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4/5 |
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(2009) |
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"It's a bit of The Exorcist, a bit of Poltergeist, a bit of The Blair Witch Project and a bit of Lost Highway - and it all adds up to a whole lot of scary."
[movie review] |
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Film4 |
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3.5/5 |
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(2009) |
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"As an anatomisation of the insular envy, malice and brutality that would lead to the rise of Nazism, The White Ribbon is clinically precise - but also just a little dull."
[movie review] |
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Film4 |
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(2009) |
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"Nymph is ultimately like [its] lengthy opening shot - deliberately paced, oblique and somewhat meandering... and leaving the viewer to puzzle out what they have seen, and what might have gone on in the shadowy ellipses that have remained off-screen"
[movie review] |
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Eye for Film |
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(2009) |
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"An affecting blend of warm comedy and high pathos, The Boys Are Back brings an unusual all-male perspective to its otherwise familiar themes of domesticity, death and dysfunction."
[movie review] |
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Eye for Film |
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4/5 |
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"Ambitious, inventive and endlessly arresting, Sion Sono's epic romance is a vibrant rite of passage, guiding us through a world of repression, hypocrisy and delusion towards true love."
[movie review] |
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Film4 |
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(2010) |
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"There is something a bit bland, a bit kitchen sink, a bit telemovie, about this portrait of the artist as a young man."
[movie review] |
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Eye for Film |
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(2008) |
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"Sadik Ahmed is less interested in cowboy movie pastiche than in an intense drama of misunderstandings, madness and murder."
[movie review] |
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Little White Lies |
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(2009) |
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"there is something traditional, something classical, in the festively macabre stories that fill Dougherty's script"
[dvd review] |
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Little White Lies |
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(2009) |
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"Atkins manages to convey a mass of information in a highly palatable form, at the same time as prompting his viewers to challenge and scrutinise everything that they see and hear - including, of course, his own arguments."
[movie review] |
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Eye for Film |
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(2009) |
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"Christianity collides with paganism, nature rubs up against culture, heaven is confused with hell, and everything in this sparse allegorical landscape takes on the metaphysical qualities of a symbol."
[movie review] |
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Eye for Film |
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2/5 |
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(2009) |
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"Pamela Pettler's screenplay sucks out the very soul of Acker's original creations, leaving little behind but a ghost-like shell, pretty to look at, but free from any substance"
[movie review] |
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Film4 |
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(2010) |
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"for all its gripping excitement as a thriller, and its grim realism as a sociopolitical exposé of life inside, A Prophet is also concerned with the mysterious processes of education, assimilation and transfiguration."
[movie review] |
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Eye for Film |
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(2008) |
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"Like many a cadaver, Colin certainly has its share of roughnesses and blemishes, but these can be overlooked for the memory of the life that was. It is an elegy for the end of days, full of love, loss and hopeless longing."
[dvd review] |
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Eye for Film |
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(2006) |
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"ineptly scripted, amateurishly edited, poorly acted, ugly looking and determinedly adolescent in its focus. Worst of all, it is entirely without subtext - and a zombie flick without subtext is like a bottle without the wine."
[movie review] |
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Eye for Film |
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(2009) |
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"a fantastic adaptation that manages to surpass its source material while staying entirely true to its spirit."
[movie review] |
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Eye for Film |
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(2009) |
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"pure, stripped-down bleakness, both in the desaturated drabness of its appearance and in the last-days essentialism of its themes."
[movie review] |
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Eye for Film |
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