Tom
Mike Nichols: The Greatest (The 90’s)
I keep waiting to write the introduction where I note that this was Nichols weakest decade, and y…
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Tom
Argylle (2024) – Review
The morning of Saturday 3 rd February was a terrible series of events, two mainly. One was a car i…
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Tom
The Killer (2023) – Review
David Fincher is in my all time top directors ranking – I mean when a man loves Benjamin Button and…
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Tom
The Zone of Interest (2023) – Review
Jonathan Glazer’s debut film was the sensational, incredibly volatile and high octane Sexy Beast, a…
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Tom
Ferrari (2023) – Review
This year due to a plethora of reasons has ended up one where many of our great film-makers and man…
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Tom
May December (2023) - Review
Well. Not in a very long time has my top three films of the year been of such an incredibly high ca…
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Tom
Eileen (2023) – Review
I try whenever I can to read material before seeing their film adaptations, fortunately a holiday l…
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Tom
Maestro (2023) – Review
So it seems that Maestro is to be the film that is of this Oscar season one of my films to defend a…
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Tom
One Life (2024) – Review
I have to admit I feel rather ghoulish and guilty about how tepid I plan to be about this film, whi…
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Tom
Dream Scenario (2023) – Review
In a year of bold projects for A24, Kristoffer Borgli’s Dream Scenario in many ways feels like a re…
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Tom
Anatomy of a Fall (2023) – Review
There have been two films this Oscar season so far that have been incredibly acclaimed that in a ra…
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Tom
Anyone But You (2023) – Review
I would like if I may to reprint my concluding words from my review of 2022’s Ticket to Paradise; “…
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Tom
Poor Things (2023) – Review
It happens every Oscar season to every film lover – that one film, or two, hopefully no more just d…
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Tom
Saltburn (2023) – Review
There is indeed an intoxication and a seduction at the heart of Emerald Fennell’s Saltburn, that on…
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Tom
Triple Bill: Directed by Jonathan Glazer
Jonathan Glazer as a director is very singular in the respect that I don’t actually think you could…
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