Movie Reviews Published by The Observer (UK) - Page 5 of 42

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Review of You People (2023)

By Wendy Ide (1,500) for The Observer (UK) (826) on 30 Jan 2023

The first third of the picture is promising, if frequently excruciating. But the points are painfully laboured and the jokes run out of steam…

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Review of Plane (2023)

By Wendy Ide (1,500) for The Observer (UK) (826) on 30 Jan 2023

It may be big, brawling and somewhat inelegant in approach, but this Gerard Butler vehicle is an aviation fuel-powered good time…

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Review of The Fabelmans (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 30 Jan 2023

If you’re looking for a film that explains where the Spielbergian tropes you know and love came from, then The Fabelmans is for you…

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Review of Babylon (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 22 Jan 2023

For all its nudge-wink movie-history nods and self-conscious carnivals of bodily fluids and glamorous excess, Babylon is exhaustingly unexciting…

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Review of Bank of Dave (2023)

By Wendy Ide (1,500) for The Observer (UK) (826) on 22 Jan 2023

Rory Kinnear gives a robustly likable performance as Dave, somewhat redeeming this unashamedly formulaic crowd-pleaser…

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Review of Alice, Darling (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 22 Jan 2023

What’s impressive about this psychological thriller, the debut feature film from director Mary Nighy, is how tuned in it is to the dynamics…

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Review of Babylon (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 22 Jan 2023

For all its nudge-wink movie-history nods and self-conscious carnivals of bodily fluids and glamorous excess, Babylon is exhaustingly unexciting…

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Review of Holy Spider (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 21 Jan 2023

It’s a tense, atmospheric piece of film-making but it made me profoundly uncomfortable – and not, I should add, in a good way…

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Review of TÁR (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 17 Jan 2023

The genius of Todd Field’s superb Tár comes from the way the film-making echoes the treacherously seductive and mercurial nature of its…

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Review of Till (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 10 Jan 2023

An awards-worthy performance from Danielle Deadwyler (who stole the show in 2021’s The Harder They Fall) lends a passionate heart to this…

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Review of Empire of Light (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 10 Jan 2023

This is the first film that Mendes has directed from his own screenplay (he had a co-writing credit on 1917), and for all its visual flair,…

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Review of Till (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 10 Jan 2023

An awards-worthy performance from Danielle Deadwyler (who stole the show in 2021’s The Harder They Fall) lends a passionate heart to this…

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Review of The Enforcer (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 10 Jan 2023

It’s thuddingly predictable stuff that limps through a plot involving nefarious sex traffickers, treachery and a liberal smearing of Miami sleaze…

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Review of Piggy (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 10 Jan 2023

There’s an atmospheric, unsavoury oiliness to the cinematography and an uncomfortable tussle of sympathies – director Carlota Pereda shows…

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Review of A Man Called Otto (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 10 Jan 2023

A Man Called Otto taps into a seemingly unquenchable audience appetite for stories of cantankerous grumps redeemed by the healing embrace of…

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Review of France (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 05 Jan 2023

France is watchable, if not subtle, but the picture labours its message with an overstretched running time and an oddly anticlimactic structure…

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Review of Corsage (2022)

By Jonathan Romney (434) for The Observer (UK) (826) on 05 Jan 2023

At moments, however, the pacing treads a fine line between stately and somnolent…

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Review of The Pale Blue Eye (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 05 Jan 2023

While the picture looks wonderfully atmospheric throughout, with its frostbitten monochromes and consumptive colour palette, the story disintegrates…

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Review of Whitney Houston: I Wanna Dance with Somebody (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 01 Jan 2023

It should be stressed that the problem doesn’t lie with Ackie necessarily, but rather with a leaden, by-numbers screenplay from Anthony McCarten,…

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Review of No Bears (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 01 Jan 2023

Filtering his immense contribution to cinema through a deceptively incidental lens, he once again reminds us that movie-making can be a profoundly…

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