Reviews

… a bloody great little horror film.

… exacting and believable, watching it can feel like you’re involved in an emphatically unhealthy situation.

… suffers from the incoherence it depicts, not knowing when to finish its world building.

… shades of Michael Haneke here – Amrum has a very similar feel to The White Ribbon.

Whatever it is, it is certainly not bland or monochrome.

Foy gives a brave, honest performance …

… a well-constructed cinematic ballad that manages to harmonise brutal genre trappings and audio with light and breezy NY rom-com aesthetics

… a feel-good movie that isn’t afraid to make the audience (and even its characters) earn those feels …

… a fun and heart-warming romp …

[Bryan Cranston] ... anchors a bold and powerful production which is well worth catching.

… the best way to enjoy this obtuse, bizarre Japanese cult classic.

... a film about an author in crisis — an artist searching for a new form but becoming trapped within his own imagery.

… dramatically inert yarn that progressively feels more and more like a slog.

Supermassive Games burst onto the scene in 2015 with their breakout hit Until Dawn. The premise was simple: experience a gory slasher flick as an interactive movie, controlling various characters

… deliberately controlled, almost austere.

Fatherland is not only about the past. It is a warning about the cyclical nature of history and the dangers of forgetting.

… there’s a winning earnestness radiating from its lead performers that smooths over the potentially-unintentional discomfort, tired rom-com tropes, and occasionally eye-rolling soundtrack.

… a confection of missed chances.

… spectacle without substance: a film that gestures toward scandal and intensity but offers little emotional resonance or intellectual insight in return.

The film’s greatest revelation is Sandra Hüller’s performance