Wheatley captures the volatility of emotions during the festive period, where every familial anxiety seems to come to a head, and does so with compassion and humour.
The story is not particularly forthright in articulating its themes and ideas, and while that may work in the slow-burn pages of a novel, it just feels contrived and manipulative up there on the screen.
We don’t hear from law enforcement as to why the raid happened in the manner it did, and why it ended in a humiliating capitulation. Yet there’s definitely a rousing prescience to a film like this at such a politically precarious moment, and perhaps we should take this rare happy ending with a pinch of salt.
While It Ends With Us and Regretting You contained at least some decent acting and production value, Reminders of Him is a grim dose of misery and trauma porn punctuated by a terrible lead performance and an undeniable conservative sheen.
The Bride! doesn’t have a single original thought worth pursuing. The fact that this film appears so shrilly convinced of its radical praxis speaks to a bizarre disconnection from reality.
One can’t help but long for something a little more exciting than “pleasant” – Pixar used to lead the animation industry, and they’ve been treading water for far too long.
Sirât is a truly staggering and major film, one that has to be seen to be believed – a masterful gambit of affectionate character and community building that mutates into a work that deals with the primal instincts of human survival and the idea that we create our own gods through the things that we chose to worship.
