Movie reviews of Jacob Richardson

The Good Liar is fine. Mainly, that is down to Ian McKellan and Helen Mirren. But we’d be lying if we said we thought it was good.

Knives Out is just excellent filmmaking. Thoroughly enjoyable, and a throwback to murder mysteries of old, this is a must-see.

A safe, paint by numbers action/thriller that gets a pass because of its superb cast, action direction and visual aesthete.

The Report isn’t necessarily easy viewing, with dense subject matter and occassional torture scenes, but the performances and filmmaking expertise on display here make a complicated topic intriguing and compelling viewing.

Last Christmas is unlikely to be a Christmas classic to last the ages, but it is extremely enjoyable and will light up your 2019 festive season.

Undeniably odd and Amoldovar, but nevertheless an engaging foray into pain, death, addiction, love and loss in an artistically ambitious package.

While Mistresses might redefine your expectations of Russian cinema, with its fun tone and upbeat nature, production quality issues hamper what this could have been.

The action hits in all the right places and is incredibly well choreographed, but the plot around it is at times threadbare, and at others a rehash of what we have seen before.

Official Secrets brings a little known, but important, story back into the limelight, and does so in a tense and engaging way.

Brittany Runs A Marathon is frequently funny and affecting, but also makes too many missteps to be a must see. Part of that comes down to the pursuit of ‘realness’, while also maintaining a structure that forces typicality.

A raucous, rambunctious, gory and gratuitous black comedy that will have you wincing and in stitches in equal measure.

A funny, gory and entertaining return to the Zombieland world that never really achieves the same zeitgeist as the original.

A perfectly serviceable documentary, that feels unadventurous in an age of non-standard documentaries.

An impressive adult drama with all the complex emotional questions that will linger with you after the film grounded in superb performances from Julianne Moore, Michelle Williams and Billy Crudup.

An incredible technical achievement masks what is, at its core, a relatively standard actioner with a lot of heart.

A fun, funny, engrossing female led drama that never loses sight of its central conceit around female friendship.

This biopic is undoubtedly limited in scope and does little to contextualize Garland’s starpower, but it does act as a compelling vehicle for an inimitable performance by Renee Zellweger.

A pointlessly bloody, listless rehash that barely meets runtime requirements and only does so by bloating it out with soap opera drama.

A gripping, dramatically rewarding exploration of the deepest regions of space, and the deepest recesses of our hero’s psyche.

A serviceable Aussie tale that overcomes its shortcomings with sheer heart.

An absolutely hilarious comedy that will keep you laughing throughout.

IT: Chapter Two upholds the quality of the original. Not without flaws, but also unlikely to have you looking at your watch, this is a fun, freaky, popcorn horror.

Ditch Dora’s map and get one that leads straight to the exit of your movie theatre; you’ll need it.

Dogman is a gripping piece of Italian cinema that marks somewhat of a return to form for Garrone.