Film

Review: John Wick 3 – Parabellum Rating 74%

Review: John Wick 3 – Parabellum

We are far beyond killing someone with a pencil. In this new instalment in the Keanu Reeves Can Still Go franchise, the limit is pushed even further than in John Wick Chapter 2. The world of John Wick is utterly ridiculous, with talk of shadowy organisations better suited to trashy conspiracy mysteries, reaching a level of farcical nonsense on a par with the latter Fast & Furious movies. Why does it not receive the same level of scrutiny?

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Review: I Am Easy To Find Rating 85%

Review: I Am Easy To Find

It’s not like The National need to reinvent themselves. But their new collaboration with filmmaker Mike Mills (Beginners, 20th Century Women) brings some fresh colour into their much-loved repertoire of dark romanticism and ruminations on modern male anxieties. Infused with a cornucopia of artistic input and strong female presences, I Am Easy To Find is a touching fusion of National classics like gripping-you-by-the-guts sound and superb lyrics together with new perspectives, delicious visuals and one hell of a lead performance.

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Review: Beats Rating 86%

Review: Beats

It’s a pivotal point in any night out when the music transitions and this is certainly no different in Brian Welsh’s film Beats, as the drugs take effect and the black and white grade of the film is opened up to allow a little colour in, until the sobering moment of the film becomes real.

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Steven Lewis Simpson: He puts his spirit on screen and takes the material to a new height

Kent Nerburn’s Native American novel, Neither Wolf Nor Dog, has been adapted into a feature by Scottish filmmaker, Steven Lewis Simpson, which is in the midst of the longest first-run theatrical release of any movie in the US in at least a decade, which is all the more remarkable as he self-distributed it through his Edinburgh production company. Steven spoke with The Fountain about how it came about as well as other projects he is presently working on.

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Review: Us Rating 86%

Review: Us

Sometimes my method of choosing what to see at the pictures by simply perusing the blurbs in the Filmhouse brochure backfires. The 2019 film, US, sounded enticing, but seemed, upon viewing, to fall short of the mark.

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Review: Girl Rating 88%

Review: Girl

As I said in my review of The Wild Boys, some films come with an in-built plot-spoiler. In the case of Girl, while the brochure blurb gave away the transgender theme, the first scenes had something of Virginia Woolf’s Orlando about them. That opening sentence that says ‘He – for there could be no doubt of his sex…’ rang through my mind as I pondered over which gender was transitioning to which.

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Review: Wild Rose Rating 85%

Review: Wild Rose

It is an irritating fact of life that people who are very talented at one thing tend to be talented at everything they do. Jessie Buckley is one of those people. Plucked from obscurity as a teenager in Ireland, she found herself on a talent show performing musical theatre for Andrew Lloyd-Webber. Within a few years she had done Sondheim in the West End, War and Peace for the BBC, Shakespeare at The Globe and, in Taboo, stolen all her scenes with Tom Hardy. Now, with Wild Rose, Buckley not only acts and sings, she reveals she can also do comedy. And a convincing Glasgow accent.

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Review: Steel Country Rating 67%

Review: Steel Country

Steel Country is the new feature from Simon Fellows starring Sherlock’s Andrew Scott as a local sanitation truck driver, Donald, who plays detective, obsessing with an investigation after a young boy’s body is found in a backward town in Trump’s backwater USA. With solid performances from both Scott and Bronagh Waugh, who plays Donny’s sanitation side-kick, Donna Reutzel, there is potential with this feature, a clear depiction of the isolation and remoteness of these kind of towns in the US.

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