Home
Review

Review

.imgHideOnJavaScriptDisabled_imlppvn0o { display: none !important; }

Bluff by Danez Smith review – defiant poetry of protest

.imgHideOnJavaScriptDisabled_imlppvn0p { display: none !important; }

The Salt Flats by Rachelle Atalla review – risk-taking and unsettling speculative fiction

.imgHideOnJavaScriptDisabled_imlppvn0q { display: none !important; }

Only The River Flows review – a Chinese crime thriller awash with mystery

.imgHideOnJavaScriptDisabled_imlppvn0r { display: none !important; }

Our Evenings by Alan Hollinghurst review – a poised look at the state we’re in

.imgHideOnJavaScriptDisabled_imlppvn0s { display: none !important; }

1984: The Year Pop Went Queer by Ian Wade review – a celebration of gay visibility in music

.imgHideOnJavaScriptDisabled_imlppvn0t { display: none !important; }

Postcards From Scotland by Grant McPhee review – a bittersweet tribute to Scottish indie bands

.imgHideOnJavaScriptDisabled_imlppvn0u { display: none !important; }

Kensuke’s Kingdom offers an emotional edge over Disney’s slick and song-filled mega-flicks

.imgHideOnJavaScriptDisabled_imlppvn0v { display: none !important; }

No Small Thing by Orlaine McDonald review – breaking the generational cycles of harm

.imgHideOnJavaScriptDisabled_imlppvn0w { display: none !important; }

Napalm in the Heart by Pol Guasch review – a beautiful and affecting debut novel

.imgHideOnJavaScriptDisabled_imlppvn0x { display: none !important; }

The Light Room by Kate Zambreno review – a staggering breadth of knowledge

.imgHideOnJavaScriptDisabled_imlppvn0y { display: none !important; }

One Grand Summer by Ewald Arenz review – an understated and empathetic coming-of-age story

.imgHideOnJavaScriptDisabled_imlppvn0z { display: none !important; }

The Eyes Are The Best Part by Monika Kim review – tension-filled horror debut delivers

.imgHideOnJavaScriptDisabled_imlppvn10 { display: none !important; }

Francis Ford Coppola’s The Conversation is an eerie prediction of our surveillance age

.imgHideOnJavaScriptDisabled_imlppvn11 { display: none !important; }

Scaffolding by Lauren Elkin review – Parisian feminism through the ages

.imgHideOnJavaScriptDisabled_imlppvn12 { display: none !important; }

Kinds of Kindness show it’s not enough to accept alienation under capitalism – we must love it too

.imgHideOnJavaScriptDisabled_imlppvn13 { display: none !important; }

Deliver Me by Elle Nash review – transgressive thrills

.imgHideOnJavaScriptDisabled_imlppvn14 { display: none !important; }

Blur: To The End review – poignant new music film shows a band of brothers reunited

.imgHideOnJavaScriptDisabled_imlppvn15 { display: none !important; }

Why Sasquatch Sunset is so much more than just a gross-out comedy in Chewbacca drag

.imgHideOnJavaScriptDisabled_imlppvn16 { display: none !important; }

After the pandemic years, audience are more appreciative of intimate musical experiences than ever

.imgHideOnJavaScriptDisabled_imlppvn17 { display: none !important; }

Netflix’s Hit Man is what we used to call ‘a good time at the movies’ – but times have changed

.css-l0mio9{display:none;visibility:hidden;}