Movie Reviews Published by The Observer (UK) - Page 8 of 42

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Review of The Girl with a Bracelet (2020)

By Wendy Ide (1,500) for The Observer (UK) (826) on 28 Sep 2022

Demoustier dangles doubts, but also raises questions about the difference between judgment and justice…

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Review of After Yang (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

I’m not convinced that the picture carries quite the philosophical weight that it thinks it does…

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Review of Don't Worry Darling (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

The problem is that Wilde leans too heavily on surface and style, as a distraction from the fact that the story itself is riddled with inconsistencies…

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Review of Blonde (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 26 Sep 2022

At its heart this is a gothic melodrama, a fever dream of childhood trauma haunting adult life, replete with skin-crawlingly cruel visions…

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Review of Catherine Called Birdy (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 26 Sep 2022

Whis is a teen comedy with a refreshingly forthright approach to everything from puberty to the status of 13th-century women as chattels to…

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Review of Moonage Daydream (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 20 Sep 2022

What Moonage Daydream does manage to do is to share some of the adventurous spirit of its subject – a chameleon who wasn’t afraid of falling…

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Review of Funny Pages (2022)

By Xan Brooks (287) for The Observer (UK) (826) on 20 Sep 2022

Funny Pages spins a hilarious tale from the fringes of the underground comics scene, powered by a wonderfully sour performance by Daniel Zolghadri…

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Review of Hatching (2022)

By Xan Brooks (287) for The Observer (UK) (826) on 20 Sep 2022

Bergholm gives us precision-tooled jump scares and creeping, clammy atmospherics; a malevolent mother and an insurrectionist child…

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Review of Ticket to Paradise (2022)

By Xan Brooks (287) for The Observer (UK) (826) on 17 Sep 2022

Clooney and Roberts try their best but they’re finally not much more than decoration themselves, the filmic equivalent of plastic figurines…

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Review of The Score (2022)

By Nick James (16) for The Observer (UK) (826) on 11 Sep 2022

Electro-folk song interludes (written by Flynn) offer images about rivers and such that might better suit another film – one that doesn’t…

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Review of Crimes of the Future (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 11 Sep 2022

Mortensen and Seydoux play it deliciously straight, jumping through the well-rehearsed philosophical and physical hoops with elegant ease,…

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Review of The Score (2022)

By Nick James (16) for The Observer (UK) (826) on 11 Sep 2022

Electro-folk song interludes (written by Flynn) offer images about rivers and such that might better suit another film – one that doesn’t…

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Review of Bodies Bodies Bodies (2022)

By Nick James (16) for The Observer (UK) (826) on 11 Sep 2022

By the end, I was fond of every single brat, dead or alive…

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Review of Both Sides of the Blade (2022)

By Nick James (16) for The Observer (UK) (826) on 10 Sep 2022

Denis’s usual panache with mood and imagery doesn’t mitigate that awkwardness, nor does it alter the feeling that, although both leads…

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Review of The Forgiven (2022)

By Mark Kermode (1,002) for The Observer (UK) (826) on 04 Sep 2022

Lorne Balfe’s sparsely used music leaves plenty of open spaces for the drama to breathe, as if inviting the audience to fill in the blanks…

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Review of Wildhood (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 04 Sep 2022

It’s striking, certainly, but teasingly elusive when it comes to story resolution…

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Review of Three Thousand Years of Longing (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 03 Sep 2022

There’s something rather sterile and bloodless in the film’s approach, with its synthetic and soul-sappingly clean-looking CGI…

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Review of Ava (2018)

By Wendy Ide (1,500) for The Observer (UK) (826) on 01 Sep 2022

The 0-60 acceleration of disaster and melodrama is a little disconcerting, as is the tendency to self-sabotage demonstrated by Ava and her…

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Review of Explorer (2022)

By Wendy Ide (1,500) for The Observer (UK) (826) on 31 Aug 2022

The approach of director Matthew Dyas, who gives the archive material the appearance of found footage, adds to the mythic romance of Fiennes’s…

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Review of The Feast (2021)

By Wendy Ide (1,500) for The Observer (UK) (826) on 25 Aug 2022

The Feast requires a degree of commitment; it avoids jump scares in favour of a long, slow build of tension – so slow that at times the characters…

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