BrillFilms

Brill Films – Film News, Reviews & Comment

Main menu

Skip to primary content
Skip to secondary content
  • News
    • Celebrity
    • Industry
    • Technology
    • Festivals
    • Obituary
  • Books
  • Reviews
  • World
  • Doc
  • Drama
  • Comedy
  • Romance
  • Family
  • Action
  • Horror
  • Thriller
  • SciFi
  • Amimation

Post navigation

← Older posts
Newer posts →

Scary Movie review – spoof comedy returns but maybe it should have stayed in the 2000s

Successful jokes are thin on the ground in the musty sixth installment of the once-popular parody franchise, taking aim at everything from Scream to Sinners

Savage House review – Claire Foy and Richard E Grant sell it hard in bewigged 18th-century caper

The leads are the most watchable thing in this raucous period yarn about a grimy pair of status-obsessed nobles

The Misfits review – Marilyn Monroe is fascinatingly sad in John Huston’s desolate western

The bleak Arthur Miller-written 1961 American pastoral is rereleased to mark the 100th anniversary of the birth of Monroe, who plays a naive divorcee who meets three new suitors in her most serious and poignant role

Madfabulous review – Callum Scott Howells shines as flamboyant aristocrat in hedonistic period romp

Howells puts in a strong turn as Henry Paget, a Victorian marquess who blows his inheritance on hosting wild parties and staging gender-defying theatrical performances

Affection review – memory loss thriller that keeps you guessing benefits from winning performances

Terrific acting, especially an intriguingly ambiguous turn by child actor Julianna Layne, ground this twisty little horror debut

Masters of the Universe review – Amazon’s He-Man adventure is a weak big-budget misfire

A laboured attempt to resurrect toy IP very few people still care about is a $200m-budgeted waste of everyone’s time

Virginia Woolf’s Night and Day review – dreamy adaptation reaches for the stars

Woolf’s novel about a headstrong young Edwardian woman takes flight under Tina Gharavi’s direction, with Timothy Spall and Jennifer Saunders among the ensemble cast

Planet Israel review – valuable personal documentary about Israel/Palestine conflict

Gillian Mosely’s film argues that Israelis are asked to accept a ‘forever war’ in part motivated by Netanyahu’s desire to defer investigation into corruption allegations

Acting review – Cheek by Jowl masterclass in how to strut and fret upon the Shakespearean stage

Sophie Fiennes’s thoughtful documentary follows director Declan Donnellan as he helps actors find their way through Macbeth’s lines

Köln 75 review – how a legendary jazz-improv show was cajoled into being by a German teenager

Watchable biopic charts how an 18-year-old German booked the sickly American pianist Keith Jarrett for what became a landmark concert

Ghost in the Machine review – entertaining AI polemic dives into its dark history in race politics and eugenics

The roots of AI in rightwing ideology is examined in Valerie Veatch’s enjoyable doc, including an array of colourful, often crazed, figures

Fuck the Polis review – cryptic docu-essay is a sphinxlike study of Greek myth and modernity

This film may be making a point about the classical vis a vis the contemporary, but its visual collages and dense poetic texts render it inert

Bonnie & Clive review – cheerfully ridiculous Covid road trip heads for Cornwall

Bonnie has two days to get from south London to her grandparents’ house before lockdown in this super low budget British comedy

Beast review – down-and-out MMA fighter film is predictable but still lands punches

Directed by Tyler Atkins and co-written by Russell Crowe, this Australian feature follows a familiar playbook – but you’ll find yourself surprisingly invested

Miss You, Love You review – Allison Janney anchors affecting old-school grief drama

A talky, performance-driven two-hander manages to find specificity and spark in what could have felt like an overly familiar throwback

Post navigation

← Older posts
Newer posts →

  • John Irvin obituary
  • The Quiet Earth: New Zealand post-apocalyptic classic preys on the fear of being totally alone
  • Ali G: Who Iz I? trailer reveals return of Sacha Baron Cohen’s prank-playing rudeboy
  • Rise of the Footsoldier: Retribution review – never-ending hardman-on-a-mission franchise heads to Ibiza
  • ‘Environmental violence’: inside the fight to save indigenous land from becoming a nuclear dumping ground
  • Seam me up, Scotty! After 60 years, Star Trek has had a muppet takeover. About time too
  • Penny Lane Is Dead review – Aussie slasher comedy zips from Neighbours to nasty
  • Zip Wire review – cancer-curing scientist is on the hook for cable-dangle thriller
  • Guardian-produced Gaza documentary from Oscar-winning Israeli directors of No Other Land to screen at Venice film festival
  • Post your questions for Alex Winter
  • The Visitor review – existential Lithuania-set homecoming drama leaves everything in limbo
  • Marching in the Dark review – rural Indian widows show stunning resilience as they battle poverty and taboos
  • ‘A bit like meditation’: why Saw is my feelgood movie
  • Disciples review – fresh-faced boys are sucked into a nightmare of extremism in India
  • On Different Grounds review – Cupid’s-conspiracy romcom brings Nollywood and Bollywood together
  • Mark Ruffalo fires back at Paramount Skydance after it accuses him of using ‘antisemitic tropes’
  • Aardman’​s Peter Lord and David Sproxton: ‘At the Oscars, I went to the gents and had a pee with Jack Nicholson!’
  • Drive-in cinemas are rare these days. But the last one in Melbourne’s north still draws a faithful crowd
  • Meghan Markle’s casting in The Gentlemen reportedly withdrawn after UK backlash
  • ‘Embryonic’: lost novel by French film-maker Éric Rohmer is republished
  • Stand By Me at 40: Rob Reiner’s seminal coming-of-age saga remains a bittersweet triumph
  • Dirty Dancer review – Swayze stan is like a whirlwind as she replays 80s favourite
  • ‘Digging the grave of my profession’: the Hollywood creatives training AI to do their jobs
  • From Ludwig to Ariana Grande: the week in rave reviews
  • From Teenage Sex and Death at Camp Miasma to Brandon Flowers: your complete entertainment guide to the week ahead
  • David Harbour has blown Tony Stark’s cover in Avengers: Doomsday. It might just be what Marvel needs
  • ‘We’re barely above porn’: why would a film-maker choose to make a deliberately bad ‘mockbuster’?
  • Meghan as the next Bond? Five roles that almost certainly don’t lie behind UK return
  • Who Killed Marilyn? review – dismal attempt to solve mystery of Monroe with Pixie Lott
  • The Odyssey becomes highest grossing R-rated film of all time

Contact www.brillfilms.com   Terms of Use