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  • Behind the Candelabra

    Behind the Candelabra

    ★★★★

    Michael Douglas' most understated, nuanced performance since THE GAME.

  • All That Heaven Allows

    All That Heaven Allows

    ★★★★

    Just about lives up to the hype - sumptuous photography and music accompanied by tortured, soulful performances and sharp social criticism - though watching this shortly after MAGNIFICENT OBSESSION dilutes the controversy of the central romance considering Hudson and Wyman got together with no comment on their different ages in Sirk's earlier picture.

    Still, each moment between the two is electric, which elevates the tension all the more when they're apart and the world conspires to keep them that way.…

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  • Enemy

    Enemy

    ★★★★

    Cronenbergian, wholly pessimistic and so insistent on its foggy, doomed aesthetic that it almost feels like Gyllenhaal's about to run into Tom Jane in a Maine supermarket.

  • Oldboy

    Oldboy

    Awful in the way only bad remakes can be. There's nothing inherently wrong with the technical filmmaking on show, but the vulgar superficial warping of Park Chan-Wook's original film feels forced and unnatural where the 2003 movie is graceful in its inevitability. It also doesn't help that, while Spike Lee is no slouch cinematically, his visuals come off as sloppy when compared to Park's masterful, elegant compositions.

    Other things that hurt the film include Brolin's detestable characterisation (who would want…