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Dominika Egorova (Jennifer Lawrence) is the prima ballerina at the Bolshoi Ballet until an on-stage accident (note: not an accident) ends her career. Her options to support her ill mother (Joely Richardson) rapidly narrow; working for her sleazy security chief uncle (an extremely Putin-like Matthias Schoenaerts) becomes the only way to keep from being thrown out onto the street. Of course, once she agrees to his offer she’s dropped into a nightmare where the only way to stay alive is to become a Sparrow, a spy trained to use sex as a weapon against the enemies of the state – enemies like CIA agent Nate Nash (Joel Edgerton), who’s been booted out of Russia for blowing his cover. Nate is a spy who cares too much, and when the high level mole he was handling won’t make contact with anyone else he’s sent back to Europe to re-establish contact – and Dominika is sent to “make contact” with him.   You're seeing this for Jennifer Lawrence, and fortunately she...

Lets get this out of the way: As the awards season gathers pace, Greta Gerwig’s solo directorial debut  Lady Bird  is in severe danger of being overhyped. Be warned, it’s the kind of modest, indie coming-of-age story we’ve seen a million times. Set in a vaguely nostalgic 2002 and 2003, it’s episodic and stylistically simple, with a guitar-heavy soundtrack. It hits the familiar beats: Prom Night, painful conflicts with parents and falling outs with best friends; the pursuit of popularity, the loss of virginity and the wisdom that comes when grand dreams crunch up against reality. But  Lady Bird  is written, directed and performed with such tenderness, spiky humour and attention to detail, that it’s a delight to behold. Christine McPherson (Saoirse Ronan) is a dramatic and somewhat pretentious 17-year-old who insists on being called by the name ‘Lady Bird’. Her kind-hearted father, Larry (Pulitzer Prize-winning playwright and actor Tracy Letts), is a computer programme...

The introduction of then-prince T'Challa (Chadwick Bozeman) to the Marvel cinematic universe in Captain America: Civil War was the high point of the film. That wasn't really a surprise: one of the things Marvel does best is introduce new characters to its ever-expanding universe, and the already-announced Black Panther movie already had a lot riding on it. But that scene in Civil War held out the promise of two separate things; the Black Panther movie we now have only delivers on one. With T'Challa's father killed in Civil War , the young prince is clearly next in line to the throne of secretive and super-advanced African nation of Wakanda. It turns out to be a very long line, as it's roughly forty-five minutes into the film before the story finally kicks into gear. Not that what happens before T'Challa goes on the hunt for resource-plundering bad guy Klaw (Andy Serkis with a gun arm) isn't interesting or important; the lengthy sequence where T'Chall...

I'm the first in line to decry the death of the traditional film review. I loathe the clickbait take-down culture that's replacing measured and contextualised film criticism and entertaining consumer-oriented newspaper and magazine film reviews. Sometimes it scares, the frenzied speed with which every new film must be evaluated through the lens of identity politics, often by writers who lack any other analytical tools with which to measure or experience cinema. But lately I've been enjoying my own kind of non-traditional film writing, revelling in the overt subjectivity and freedom of writing memoir-infused film reviews. My own life and relationships have provided the starting point for essays about films that have touched deeply in one way or another. Perhaps this is a little self-indulgent, but to me it feels like an honest and thoughtful way to acknowledge the intertwining of my life and the many hours I spend watching films, and I try to bring my experience as a traditi...