Despite Wright’s visual panache and technical ingenuity, his version of Tolstoy’s romantic epic never quite fully soars. There are plenty of invention and audacity on display here, but storytelling seems to play second fiddle to style and pageantry. Anna’s tortured journey to destructive love is somehow overshadowed by Wright’s meticulous showmanship.
A chilling take on a very unsettling tale of beleaguered motherhood and parental torment. Ramsay’s vision opts for a bold, raw aesthetic that brilliantly eschews common book-to-screen tropes. Plus Swinton is so fucking terrific. And you’ll never listen to Buddy Holly’s ‘Every Day’ the same way again.
A misguided adaptation that fails to be as witty, poignant and heartbreaking as its original source, resulting in a sexless, lacklustre and crushingly conventional romantic caper. This only adds evidence to a universal truth that some books are better left untouched.
Deathly Hallows: Part Two delivers a rousing, grandstanding finale to a franchise that inspired popular imagination. This may not be the best in the series, artistically speaking, but David Yates marshals a film of many plot MacGuffins and gives the Potter phenomenon a worthy, emotionally resonant send-off.
Nichols holds no guilty punches in this astonishing cinematic debut, a film of no-holds-barred emotional and psychological honesty that draws a scathing dissection on marriage life. It’s a powerhouse performance-film, and Taylor is tremendous. Expect fireworks.
It never quite give the emotional catharsis the story needs, but Never Let Me Go is a lesson in subdued, understated storytelling, undermined by this era of dramatic fireworks. Less is more, and Romanek has crafted a quietly devastating, thought-provoking meditation on the impermanence of human life so profound that it makes a hundred sci-fi dramas look overwrought.