BREAKING MOVIE NEWS
Our time in Edinburgh is over for another year and unfortunately I saw far more in 14 days than I could ever hope to provide full write-ups on under the tight deadlines
Get Low provides a refreshing antidote to all the plot-heavy blockbusters of the multiplexes and the pretension filled try-too-hards of the indie circuit. It is a simple story, well told and excellently performed and who can complain about that?
Festivals are ridden with the celluloid corpses of aspiring film-makers with plenty of college courses under their belt but not always much in the way of compelling vision
If there was one catalogue blurb that grabbed attention at this year's Festival it was a collaboration between America and Europe's two most unique film-makers
In the run-up to EIFF much has been made of The Illusionist and the work of the Scottish animation artists who contributed to it. But while The Illusionist is undoubtedly absolutely stunning to look at, it is a little more unkempt when it comes to the story it wants to tell
It's great to see such a strong project come from a celtic collaboration between Scottish Screen and the Irish Film Board, and Colm McCarthy and his brothers could well be up-and-comers to keep an eye on. It's just a shame
Director Elbert van Stein takes the typical Hollywood horror cliche of the eerie,creaky old mansion house and attempts to fuse it with J-Horror's creepy little girl ghost conceit
My feelings towards Cherry Tree Lane are fairly conflicted. It has an interesting concept and is visually well presented but doesn't seem to quite know what to do with itself
The story of a man who snaps after the death of his family and goes out for some kind of justice/revenge is nothing new but offers plenty of room for originality and creativity within the concept
On paper, The Last Rites of Ransom Pride sounds like a surefire winner; a western about a tough gun-toting heroine trying to take her deceased outlaw lover's body back home for burial
Antichrist is a difficult film and certainly not for everyone but it is another mark in Lars Von Triers quest to push the envelope of filmmaking for better or worse and if you have the stomach for it, worth investigating.
Boogie Woogie proves that no matter how many big name actors you throw at a project, if you don't have a good script to start with, the film just will not hold together.
In contrast to the bloated running times of many other festival movies this year, Surrogate clips in at just under an hour. That it is better than many of the longer features playing at this year's EIFF
Perhaps Giallo was intended to be some dramatic return to form. In reality, it is a horrific mess of a film which could have been a knowing pastiche of the genre if only
When it was announced that director Darren Aronofsky was coming to EIFF, there was only one question everyone was dying to ask him. That the person who asked it did so in the most idiotic fashion ever
Part true story, part grim survival horror, Van Diemen's Land suffers from a problem shared by many films at the festival this year in that it is overlong and repetitive.
Salvage starts out as a pretty strong contender for a good claustrophobic horror film; it's just a shame that it sacrifices everything in the final third by resorting to a jumble of horror cliches and illogical writing.
There is a largely unspoken issue of many soldiers' inability to adjust between the two very different lifestyles of service and civilian, but Isolation lacks the clarity to make the case as strongly as it should.
Long Weekend wants to be a taut psychological horror but when all is said and done it is just another muddled remake hampered by an absence of logic and unlikable characters. The supernatural card is played, as it all too often
The Private Lives of Pippa Lee is a warm, intelligent and surprisingly funny examination of life and relationships and proves that not only is it possible to create strong central roles for middle-aged women, but also a family drama that is worth everyone's time