InDaily InDaily

Support InReview journalism Donate Subscribe
Support independent journalism

Film reviews

Film & TV

Film review: Downton Abbey – A New Era

Downton is a franchise built on country-manor snobbery, which means the quality and serving sizes above and below the stairs remain consistent. Time to check in with the toffs and their servants who, over seven seasons and two movies, have been variously to jail, hell, and now, France.

Film & TV

Film review: Drive My Car

This dreamy and exceptional film opens with the recurring obsessions of author Haruki Murakami, on whose short story it is based: namely, sex and the idea of pieces of identity left with or taken by lovers.

Film & TV

Film review: Belfast

For all the Shakespearean drama Kenneth Branagh has done (As You Like It, Henry V, Hamlet and more), this personal memoir of childhood in the tightly packed streets of Northern Ireland may be his crowning achievement.

Film & TV

Film review: Parallel Mothers

The relationship between two women who meet while giving birth is at the heart of Pedro Almodóvar’s engaging new film, but the Spanish director also uses Parallel Mothers to reckon with a dark period in his country’s history.

Film & TV

Film review: The Many Saints of Newark

Prequels are risky. Playing around with the origins of something that already exists in popular culture, in this case the long-running gangster saga The Sopranos headed by murderer-in-chief Tony Soprano, can be indulgent. So does it work?

Film & TV

Film review: Julia

In his first foray from food critic to film critic, Paul Wood savours a new feature-length documentary about one of the world’s favourite cooks.

Film & TV

Film reviews: Love and Neon with Wong Kar Wai

Mercury Cinema is offering a rare opportunity to see influential Asian filmmaker Wong Kar Wai’s movies on the big screen with the week-long retrospective Love and Neon. Our reviewer soaked in the beauty of two of his signature films: In the Mood for Love and Chungking Express.

Film & TV

Film review: Ema

It’s as if Chilean director Pablo Larraín (Neruda) decided to pack into one contemporary fable the entire hot-blooded Latin American stereotype.