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 →

Donald Trump biopic and new films by Yorgos Lanthimos and Andrea Arnold to premiere at Cannes

Francis Ford Coppola’s long-awaited passion project Megalopolis and Jacques Audiard’s musical set in the world of Mexican drug cartels will also be in competition

Furiosa: A Mad Max Saga set to premiere at Cannes

George Miller’s follow-up to Oscar-winning Mad Max: Fury Road, starring Anya Taylor-Joy, will make world premiere at May festival

Civil War review – Alex Garland’s immersive yet dispassionate war film

The writer-director’s much-anticipated look at the horrors of an America violently divided is an impressive technical feat yet an emotionally cold drama

The Fall Guy review – Ryan Gosling and Emily Blunt dazzle in delightful action comedy

Two fantastic movie star turns lead this loving and supremely entertaining ode to stunt work based on the 80s TV series

Monkey Man review – Dev Patel’s directorial debut is a gory descent into darkness

The actor takes the lead both in front of and behind the camera in an impressive and ambitious, if a little unwieldy, revenge thriller

Y2K review – uneven disaster comedy relies on 90s nostalgia

Former Saturday Night Live member Kyle Mooney’s directorial debut goes for laughs and horror and ends up all over the place

Babes review – Ilana Glazer and Michelle Buteau elevate Pamela Adlon’s pregnancy comedy

The Broad City alum leads the Better Things creator’s directorial debut that enjoyably refashions the romcom for best friendship after kids

On my radar: Niamh Algar’s cultural highlights

The Irish actor on surfing in mid-winter, the best pasta she’s ever had, and why Pink makes her feel like a kid again

Road House review – Conor McGregor almost steals riotous 80s remake

Jake Gyllenhaal fills Patrick Swayze’s shoes in a brashly entertaining romp featuring a knockout debut from the UFC champ

German minister says she clapped Israeli film-maker, not his Palestinian colleague, at Berlinale

Call for Green politician to resign amid row over politically charged closing ceremony at film festival

Mati Diop’s documentary Dahomey wins top prize at Berlin film festival

Film about first major return of looted treasures to Africa beat the work of several veteran directors

Berlin film festival 2024 roundup – tasty treats and the odd potboiler

A careworn Cillian Murphy excelled, Atlantics director Mati Diop returned, astronaut Adam Sandler had us drifting off, and kitchen dramas continued to sizzle

Dahomey review – interrogative reverie about looted African sculptures

Mati Diop’s documentary is told partly in the ‘voice’ of one of the looted treasures, in a realist jeu d’esprit about the legacy of plunder

Memory review – survivors grapple with an unstable past in a delicate, painful duet

Jessica Chastain and Peter Sarsgaard excel in Michel Franco’s absorbing story about the unnerving reunion of a care worker and a friend from her past

Made in England: The Films of Powell and Pressburger review – Scorsese’s guide to cinema greats

Martin Scorsese, who helped rescue the British film-makers’ work from obscurity, is the perfect person to discuss their unique and now beloved work

Post navigation

← Older posts
Newer posts →

  • Terry Cox obituary
  • Fuze review – Theo James and Aaron Taylor-Johnson face off in head-spinning London heist
  • Why do this spring’s blockbusters feel so smug?
  • Deathstalker review – ludicrously enjoyable revisit of 80s swords-and-sorcery silliness
  • Bone Keeper review – there’s a critter in the caves in serviceable Brit horror
  • Let’s get metaphysical! Existentialist cinema is back, if anyone cares
  • What’s new to streaming in Australia in April: Half Man, The Audacity and Beef returns
  • The Super Mario Galaxy Movie review – bland screensaver of a movie that’s actually worse than AI
  • Smiley Face: finally, a stoner comedy for the girls who get overstimulated at the supermarket
  • From the phone to the plex: why TV shows are turning into movies
  • The Drama review – Zendaya and Robert Pattinson’s controversial wedding film delivers on its promise
  • Ghost Killer review – fantastic karate chopping and gunslinging in in supernatural action-comedy
  • Two Women review – sex comedy remake is French-Canadian answer to Confessions of a Window Cleaner
  • James McAvoy: ‘I’ve been “that Scottish person”, reduced to a noise that comes out of my mouth’
  • Corey Feldman speaks out about Rob Reiner Oscars tribute snub: ‘Like a family reunion I wasn’t invited to’
  • McCartney: The Hunt for the Lost Bass review – amiable tale of how Macca’s Höfner was finally found
  • Mary Beth Hurt, star of Interiors and The World According to Garp, dies aged 79
  • Rob Schneider calls on US to restore military draft
  • ​​Being Ola review – a sweet and gentle film about disability, friendship and abandonment
  • ‘Nostalgic glint of adventure’: why The Beach is my feelgood movie
  • Night Stage review – public sex enthusiasm the key to extravagant and subversive erotic thriller
  • Q review – freedom, lies and transgressions in emotional fallout from a secretive Muslim women’s movement
  • Kim Novak says Sydney Sweeney is ‘totally wrong to play me’ in biopic
  • Shaun Micallef: ‘Charlie Pickering said that’s the only thing keeping him going – to vanquish me’
  • From The Magic Faraway Tree to 5 Seconds of Summer: your complete entertainment guide to the week ahead
  • ‘Break your silence’: Jane Fonda leads rally against Trump crackdown on arts and media
  • Robert Fox obituary
  • The Guardian view on new musicals: sex, drugs and song ‘n’ dance
  • Post your questions for Paul Dano
  • The Wolf of Wall Street to Creed III: the seven best films to watch on TV this week

Contact www.brillfilms.com   Terms of Use