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  • A Quiet Place

    A Quiet Place


    Makes you realise how much you miss dialogue when it's gone. The film's USP (there's barely any talking) is well executed and adventurous, but did become tiresome for me. Surprisingly, quite early on.

    The plot is the film's biggest weakness. It's paper thin and there's not a lot of world building around events to give the film potency past the cinema doors.

    What it does - fill the audience with a sense of dread by playing on a solitary fear…

  • Session 9

    Session 9


    There is something rewarding to be found in Session 9. It's a retrospectively admirable attempt at psychological horror (which arrived in a period preceding the era of "cattle prod cinema" we currently find ourselves in) and, in the end, has a myriad of narrative threads left loose for the viewer to tie up themselves.

    But it's far from a perfect effort. For me the problem is that the film just isn't interesting enough. It's really quite boring for large sequences…

Popular reviews

  • Her



    Spike Jonze's first feature film since 2009's Where the Wild Things Are is every bit as humanist and gut-wrenchingly tender. And more. As Joaquin Phoenix's Theodore Twombly - a faux-love letter writer - struggles to cope with his own troubles of romance and L.A. life, he purchases a state-of-the-art operating system, Samantha, which he befriends and becomes increasingly infatuated with.

    What gripped me most about Where the Wild Things Are was Jonze's ability to adapt what is essentially a story…

  • The Guest

    The Guest


    The soundtrack is straight out of a John Carpenter film, the central character from a certain 1984 James Cameron effort, and the final third's one that echoes The Shining. All its tongue-in-cheek pastiching aside though, what it most closely resembles (and I only put my finger on this when someone mentioned it afterwards) is Hitchcock's Shadow of a Doubt, but somewhat less domestic. Dan Stevens is also fantastic in a darkly nuanced central performance.