The Shape of Water review: Guillermo del Toro’s magical anti-fascist fairytale
Guillermo del Toro conjures a cinematic extravaganza teeming with high notes, from Sally Hawkins’ mute, dreamy musical-loving cleaner to the B-movie creature from the deep she sides with against the worst of 1960s US military-industrial iniquity, writes Nick James.
Saturday 2 September 2017
Venice review: Lean on Pete – Andrew Haigh’s low-key road movie hits hard
A shy teenager crosses America with his horse in this bracing, well-crafted coming-of-age fable that sees the 45 Years director tackle a broader canvas, writes Paul O’Callaghan.
Tuesday 5 September 2017
Venice review: Three Billboards Outside Ebbing, Missouri – Frances McDormand grieves a small-town shitstorm
Martin McDonagh’s latest laconic, multilayered wrong-footer pits McDormand’s storming mourner against two local cops, Woody Harrelson’s omnipotently beloved sheriff and Sam Rockwell’s richly monstrous officer in waiting, writes Nick James.
Friday 8 September 2017
Venice review: EX LIBRIS – the New York Public Library, Fred Wiseman’s ode to patience and fortitude
The director’s latest magisterial study of a public institution is a tribute to the power of education and the importance of community, characteristically ambitious yet surprisingly brisk, writes Neil Young.
Thursday 7 September 2017
Venice review: Brawl in Cell Block 99 – Vince Vaughn’s headbanger in the clanger
S. Craig Zahler follows Bone Tomahawk with a slice of prison guignol as Vince Vaughn, Don Johnson and Udo Kier paint the jailhouse black and blue, writes Neil Young.
Tuesday 12 September 2017
Venice review: Foxtrot, a savage satire of Israeli military grief and grind
Following his Venice Golden Lion winner Lebanon, Samuel Maoz extends his range with this Silver Lion – Grand Jury Prize winner, playing off home-front traumas with the absurdism and rage of life on the Israeli frontline, writes Paul O’Callaghan.
Monday 11 September 2017
Venice review: Custody, a scintillating separation drama
This scintillating separation drama deservedly won first-time feature director Xavier Legrand the Venice Film Festival’s Best Director award, writes Paul O’Callaghan.
Saturday 16 September 2017
Venice review: Hannah traps Charlotte Rampling in a marital hell
Andrea Pallaoro’s ‘existential giallo’ is an exquisite exercise in slow cinema, following a woman forced to live with terrible doubts, writes Neil Young.
Saturday 23 September 2017
Venice review: Mektoub, My Love: Canto Uno – Abdellatif Kechiche’s deep pleasure plunge
The Blue Is the Warmest Colour director’s sixth feature, an evocation of early 90s young summer sensualism, is his most exuberant and indulgent yet, skinny on narrative but hungry for hedonist experience, writes Neil Young.
Monday 25 September 2017