Review: Murder Me, Monster, Glasgow Film Fest 2019

Murder Me, Monster belongs to a particular subset of overly ponderous cinema; the kind of film that mistakes hushed voices and barren characterisation for ominous atmosphere, where whatever subtext may be swimming underneath the surface is devalued by utterly flaccid storytelling. It would be genuinely pointless to provide a synopsis, as it would give a false impression as to what to expect from the film.

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Review: If Beale Street Could Talk

Barry Jenkins’ latest is a challenging film, but not in the sense of it being difficult to watch or indecipherable to parse. Rather, it is a film that showcases contrasts: One that evokes Classic Hollywood in that Love Conquers All but does not shy from the reality of black lives in 1970’s Harlem, of families bound through love yet tested by adversity, people striving to seek light while a corrupt system casts a shadow over them. At times it feels in poor taste to write a review for If Beale Street Could Talk so soon after viewing.

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Review: Shoplifters

Earlier this year I reviewed Japanese director Hirokazu Kore-Eda’s film The Third Murder. Departing from his traditional style, the main issue I had was that with this change, some of the greater emotional depth of his prior work did not quite make the transition. Now, within the same year (in the UK at least) he returns to familiar ground with Shoplifters, and with it comes the cementing of Kore-Eda as one of Japan’s greatest filmmakers, living or dead.

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Review: The Third Murder, Glasgow Film Fest 2018

Over the past two decades, Hirokazu Kore-Eda has quietly established himself as a director with an exceptional grasp of portraying interpersonal relationships. After a number of documentaries (and one drama, Maborosi) his feature After Life, released in 1998 and also written and edited by Kore-Eda himself, began a career that has featured wonderful pieces of human drama in the forms of Still Walking, I Wish, Nobody Knows and more.

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Review: Don’t Talk To Irene, Glasgow Film Fest 2018

Does a film need to strive for originality when it executes its premise so confidently? As the credits rolled on Don’t Talk to Irene, I couldn’t help but compare it to the raft of quirky indie comedies that have seemingly become a subgenre in and of themselves ever since Little Miss Sunshine made waves back in 2006. Yet I still had the biggest smile on my face, and came away thinking it was amongst the strongest films I had seen at the Glasgow Film Festival thus far.

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