– tightly gripping true crime documentary shows the extraordinary plight of two oblivious girls caught up in one of the most high profile political assassinations of our time – Kim Jong-Nam. Though staid in style, the story is so captivating it really doesn’t need added panache. Brilliant.
– documentary about the lobbyists hired by corporate behemoths to cast doubt on scientific consensus somehow manages to elicit extraordinarily candid and revealing interviews from the paid spin doctors themselves, leading to some jaw dropping confessions. It imparts great insight into why, despite the facts, progress addressing major health issues is so slow. Everyone should watch and learn from this, especially students and journalists.
– ironic that two of the best documentaries of our era each stem from passionate, articulate and inspiring individuals intent on highlighting the overreach (and in this case, murderous intent) of their respective enemy countries: Snowden in Citizenfour, and Alexei Navalny, with his extraordinary investigations into Putin and the Kremlin. That Putin can be so thoroughly exposed as he is in this documentary and remain in power goes to show the formidable death grip he has on Russia and its people. Hopefully this will not be the end of Navalny’s story.
– This 1999 high school gem is a precursor in style to Arrested Development, with hilarious and unanimously likeable characters, and a delightfully silly plot which, for all its downturns, remains relentlessly upbeat. At first glance the whole thing seems trivial, but it’s surprisingly nuanced and insightful, a charming little microcosm of life and its caprices. At the end, I found myself thinking, for the first time in a long while, ‘I could watch that again.’
– Apple’s MI5 black comedy spy thriller is an absolute romp. From the opening sequence to the cynical ending, it’s a series of biting exchanges and phenomenal performances, particularly from Gary Oldman (still original and hugely watchable after a ludicrously prolific and diverse career), and relative newcomer Jack Lowden, who I last watched in Calibre (which I also highly recommend). Great to see there’s a series two already lined up and shot. Lowden surely a shoo-in for Bond after this?
– unique, visually stunning and creatively directed by Will Sharpe, this theatrical mini-series about two middle-aged Brits accused of murder manages to vacillate between devastating and laugh-aloud hilarious every few minutes, with Olivia Coleman and David Thewlis both smashing it out of the park. It’d be easy to recommend purely on the basis of how distinctive it is, but it’s also nearly perfectly executed. Definitely gets a smiley.
– a near masterpiece that should be mandatory viewing. Simultaneously hilarious, heartbreaking and a critical insight into the functioning (or not) of our NHS and the people holding it together at the seams, while struggling to hold themselves together. All the performances are stellar, but the real revelation is Ashley McGuire, who steals every scene she’s in. Had me in stitches. The good kind.
– Despite demonstrating restraint and understatement in all the right places, this beautiful, sensitive drama can’t help but be emotionally taxing, even overpowering at times, tackling as it does so many raw themes. It’s a simple, nuanced story; tenderly portraying loss and grief, while ultimately remaining focused on hope and reconciliation.
– endlessly simmering bent cop thriller stops just short of boiling point but still cooks up some of the best BBC drama of recent times. Martin Freeman is unrecognisable as copper Chris Carson, (looking like Russell Tovey’s dad), risking his marriage, his career and hard time while trying to stay on the right side of a mental breakdown as well as his new rookie partner (another terrific performance from Adelayo Adedayo). The script crackles with deliciously black humour and the soundtrack keeps your heart rate elevated a notch above comfortable. Excellent and just a few decisions away from masterful – but all the ingredients are still there, so maybe the inevitable sequel will raise the bar further.
– original drama about a deaf family and their hearing daughter offers an extraordinary and heartfelt insight into the experiences of deaf people. Although arguably a bit too cheesy, it presents multiple storylines effectively and the performances across the board are spot on.
– Jim Cummings is absolutely electric in an unexpectedly sharp satire about corporate culture, modern romance and suppressed sexual appetite. This blackly comic psychological thriller is altogether more sinister and rewarding than its erotic premise suggests and Cummings is just wickedly hideous. American Pyscho for new audiences and a new era.
– one of the finest TV shows I’ve seen, and certainly the finest I’ve seen from Spain. Barring one strange misadventure in the middle of the series, this is an epic, edge of the seat tour-de-force: smart writing with visually commanding direction and a killer score. The characters are nuanced, sympathetic and compelling, and without exception, the cast deliver their A game. Amazing that this isn’t one of the most talked about shows out there. Creator Isabel Peña is clearly one to watch.
– Rebecca Hall gives an amazing performance as a widower traumatised by her grief in this artistic and creatively ambitious little horror gem that, despite its supernaturalism, manages to feel grounded and harrowingly realistic. Deeply unsettling and moving in all the right ways.
– following a similar format to Slumdog Millionaire, this is another powerful reminder of the way so many children live in deprived parts of the world. All the performances are strong and authentic, but that of the lead actor, Zain Al Rafeea, carrying the whole film and the weight of the drama upon his shoulders, is frankly remarkable. He’ll make you laugh and cry in nearly equal measure. Brilliant film-making and a brilliant film.
– A fast paced, phenomenally well acted and convincing depiction of radicalisation that leaves you feeling angry, distraught and excited, but mostly like your nerves have been shredded with a cheese grater. Annoyingly, the narrative is undermined by contrivance and irrational, even farcical behaviour and judgment from some of the characters, but these dubious writing decisions are forgivable when the overall result is so compelling, and it could be argued they provide more opportunity to tell the greater tale. Very scary thriller.
– a powerhouse cast, and Farrell appears to have morphed into an actual powerhouse. The man is an ox in this show. He embodies the role brilliantly, such a weighty presence I worried my screen would come off the wall mount. Jack O’Connell, too, is riveting as his foil: a laudanum addicted surgeon haunted by the ghosts of a grisly past. Indubitably, this period drama isn’t for everyone. It’s grimy, gory and deeply unpleasant at times, with few likeable characters, but the cinematography works magic and the script largely stays a few oar lengths ahead of the viewer. If you can stomach nastiness, this is highly recommended.
– an astonishing fly-on-the-wall account of a ten year mission to infiltrate North Korea, so far fetched as to be entirely unbelievable without the visual evidence documented here. Jaw dropping and totally gripping. The only question left is where is the accountability?
– Taylor Sheridan continues to excel. This is like watching a Cormac McCarthy novel interpreted by the Coen Brothers. A smart script, visuals and direction top notch, amazing cast, heartfelt and thick with metaphor. Enjoyed it a lot.
– marvellous three part drama with fantastic performances from just about everyone involved and an effectively laconic script. Great to see Sean Bean demonstrate his significant acting talent and survive the series. It’s unusual in that we’re so accustomed to seeing violence in prison dramas that I found myself conditioned to expect it at every turn. In fact, the emotional violence of this series is much more brutal and affecting. Surprising, ultimately upbeat, and highly recommended.
– No more or less than a magnificently choreographed symphony of violence. Cathartic.
– high stakes, nuanced and blisteringly tense French spy drama takes an episode to get going and then never lets up. With top notch performances and intelligent scripting, this is that rare gem: a truly great spy thriller.
– Netflix finally surprises with this wicked little cracker, an acerbic excoriation of wealth inequality and Western hypocrisy in a similar vein to Parasite. The pacing sags slightly in the middle and the ending is weird, but nonetheless, this is a great start to 2021 cinema. What a phenomenal performance from Adarsh Gourav.
– beautifully acted grief porn of the stricken sort that leaves you feeling sick. If you like that vibe, it’s a masterpiece I recommend. If you don’t, it’s a masterpiece I don’t recommend.
– Like a Scottish answer to Better Call Saul or Breaking Bad. Top performances, top soundtrack, and creative direction. A totally unexpected little black comedy gem.
– for chess fans and simply TV drama fans alike, this is a treat. Great casting, direction, and pacing. It’s cheesy and cliché at times, and Beth’s battle with addiction has an inevitability that is always tedious to watch unfold, but overall this is winning and deserving of its widespread acclaim.
– not to be confused with the classic of the same name (or any of its incarnations), this is a gritty, high intensity police thriller that plays out like a French remix of City of God and Training Day. At once tender and brutally, shockingly savage, it’s a pièce de résistance and a must watch.
– though no substitute for the live theatrical version, this screen rendition is still a joy to behold: inspiring, exciting and completely engaging. All history should be taught this way.
– a fantastic and fantastically timely piece of cinema. Sorkin’s script is characteristically sharp and pacy, and the cast are at the top of their game. Rarely do I feel so animated by a film, but this is certainly stirring. A must watch.
– hesitant to award the Smiley not because it’s undeserving, but because it’s like having boiling hot water splashed on your face for two hours. It’s emotionally scolding, furious and furiously intense, with a soundtrack that’s as dominant as the powerhouse performances it lifts. I felt damaged after watching it, but somehow a little bit stronger too.
– I started watching this on the basis of none other than Edgar Wright’s recommendation, and after 20 minutes I was honestly wondering if he was doing a student a favour or something, it was so bad. But this epitomises why I always try to watch a movie to its end. In a heartbeat, it went from one of the worst B-movie attempts at a horror movie looking like a school project, to an actual masterpiece of meta-comedy-horror, and a wonderful show-not-tell of the film-making process, complete with jabs at egos, method actors and the big shot suits demanding the impossible. I can’t think of anything else that illustrates the passion and love behind cinema so well as the second half of this film. I was grinning like a goon. Stick it out.
– when brilliant writing meets convincing acting and memorable cinematography is cut with creative direction, you end up with a show as consistently compelling as Better Call Saul. Jimmy has come a long way since we were first introduced to his origin story, but Vince Gilligan and Peter Gould pace his development just right, with barely a foot wrong. Unfortunately, the wrong foot in this season falls in the final episode, which is a real clanger given the deliberate realism of the series so far. This might well be the best show currently on TV though, and over 50 episodes, the occasional misstep can be forgiven.
– a masterpiece of creativity and a reminder of why superhero movies ever became popular in the first place. This is a self-referential, hilariously witty and inspiring animated genre mash-up that leaves every other superhero movie looking tired and tropid. A pleasure from start to finish.
– it is a relief to see such a proficient return to form from Guy Ritchie who delivers an innovative, irreverently funny and fast paced helter-skelter ride featuring his by now trademark one-liner quips, slickly stylised direction, and an hilariously addled narration by Hugh Grant’s oleaginous private investigator. Everyone is at the top of their ham game, and this is an absolute riot.
– documentary about climber Alex Honnold scaling El Capitan in Yosemite without ropes is nail-biting, edge of the seat, stress-saturated brilliance. The vistas, the personalities, his philosophy and, of course, the feat itself are all profoundly affecting, and together make for an introspective and inspiring piece of cinema.
– where Heath Ledger’s Joker exploded on screen in a dazzling spectacle and jolt of adrenaline, Joaquin Phoenix’ character deteriorates like rot, until sympathetically unhinged becomes fully detached and he sucks chaos towards him like a black hole. It’s a masterful performance. Kudos, too, to Scott Silver and Todd Phillips, who have dared to introduce shades of grey to a genre dominated by black and white, added enough social commentary to stir up the zeitgeist, and still crafted an utterly compelling origin story for one of the most loathed and adored villains in the superhero catalogue. It’s only appropriate to award the smiley…
– refreshingly original and thought provoking take on the time travel genre, where time and its nature is the centrepiece rather than a cheap plot device. Things escalate a little too fast, but overall this is fairly excellent, and has flown remarkably low under the radar. Deserves more attention.
– this unique Korean masterpiece is first and foremost an hilarious black comedy, but more than that, it’s also a searing critique of class and capitalism, stacked full of metaphors and insightful dialogue, that feels simultaneously both horrifyingly prescient and reflective. Genius.
– brilliantly crafted historical drama depicts the harrowing tragedy informatively and ungratuitously whilst remaining utterly engaging. A rare feat that more than deserves the acclaim and audience recognition it has received.
– Wow. How a film can continue to conjure such immediate wonder, excitement and hope after 20 years defies explanation. An absolute thrill ride, every bit as fresh as when I first viewed it all those years ago. A once in a generation, maybe even once in a lifetime masterpiece.
– Wonderfully dramatic French thriller – such a refreshing surprise. Yes, it’s full of absurdly Hollywoodised moments, but they have a kind of hammy charm, and the overall suspense and tension is terrific throughout. Thoroughly enjoyed this one!
– marvellous and masterful drama, powerfully executed with gentle wit and charm. Highly recommended.
– Contender for best film of 2019, certainly best comedy. It’s a straight up female Superbad, shamelessly so – if you wrote the scenes in chronological order next to each other they’d probably line up perfectly – but it succeeds in all the same ways while raising the IQ and bringing the humour more inline with modern standards. Brilliant soundtrack, brilliant acting, brilliant script. Top marks.
– Endlessly intriguing and hilariously, wonderfully weird. Every time you think it’s reached peak strange, it gets a little stranger still. Unique.
– So darn good. A huge return to form after its somewhat lacklustre and sloppy last series. Laugh out loud comedy multiple times an episode. Great.