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  • The Killing of a Sacred Deer

    The Killing of a Sacred Deer

    ★★½

    Eh. Didn't thrill me. Sorry.

    I liked The Lobster, and I like Lanthimos’s style of weirdness, but it’s the pacing which made it lose my interest here. The first fifteen minutes and the last could maybe make a great half hour film, but everything else in between dragged.

    It could maybe have done with more humour, even among the darker sections. Mixing comedy with very dark plot elements was something The Lobster did well, but I found myself laughing a…

  • Call Me by Your Name

    Call Me by Your Name

    ★★★½

    When we were buying tickets, the guy at the cinema desk wouldn’t shut up about how much he loved Call Me By Your Name. It’s his favourite film of the last five years.

    It’s not mine.

    I did like it, though.

    An intimate portrait of a gay relationship, with a very honest focus on the sexual side of desire rather than on romance alone, which steers it away from melodrama and captures that adolescent mix of horniness and emotion.

    Michael…

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  • Sin City: A Dame to Kill For

    Sin City: A Dame to Kill For

    So damn manly.

    Men going around smashing other men. Big muscly scary men. Pulling each other's eyes out, throwing them through windows, kicking them in the manhood. The manliest place to kick a man.

    Sure, the women get to jump around and have fun murdering too – "strong female characters"? – no, they're without exception motivated, defined even, by the big muscly scary men they're in love with.

    Nothing original, nothing emotional, nothing clever. Lots of face-smashing.

    It looks nice, though.

  • Her

    Her

    ★★★★

    This review may contain spoilers. I can handle the truth.

    Spike Jonze’s tale of a lonely man falling in love with his operating system is not one to go and see if you’re feeling lonely – Joaquin Phoenix’s Theodore Twombly is lonely at the start and ends it lonely. Even his computer leaves him.

    It’s not incredibly upsetting, just relentlessly downbeat. Not in an inert, cold way, as some critics have accused it – at least no more than it's getting across the lead character's own emptiness. I see it…