Movie reviews of Garry Arnot

Taking on such multifaceted storytelling can often be a risk in filmmaking, but this is an accomplished piece of work. Introducing a fantastic child actor in Sally Dramé to the big screen and blending its genres together in a cauldron of style and substance, The Five Devils marks a terrific sophomore effort from Léa Mysius. Review

Most will be well aware of the revolutionary BlackBerry smartphone and now, thanks to writer and director Matt Johnson’s brilliantly offbeat gags-to-riches flick, the madcap minds behind the mobile, and the friendship they had, can be remembered too. Review

An admirably ambitious debut from director Schaad, there are moments of greatness within this odd puzzle of identity. However, with such a playful premise to work with, Skin Deep only really scratches the surface of its own potential. Review

Capturing the nuances of the protagonist’s situation with intelligence and compassion, the director Zlotowski fully realises the complexities of her script; she tells the story not in the black and white but through the many greys of this subject matter. Review

A slow-burning, atmospheric mood piece, God’s Creatures is an unsettling film with a lingering impact, elevated by the terrific performances at its fractured heart. Review

A bleak exercise in shame and miserabilism, Aronofsky’s The Whale is a thought-provoking, challenging experience that furthers his bold cinematic exploration of belief. Review

This may be a work of fiction but thanks to authentic turns from Kagame and Malanda, Saint Omer effectively speaks its truth. Review

Presenting a cancel culture story from a compelling perspective, Todd Field’s Tár is a jet black masterclass in character development and sees Cate Blanchett at the very peak of her powers. Review

Empire of Light’s majestic aesthetics are sorely spoiled by the clumsy broad strokes of its screenplay. Sam Mendes should stick to directing only in future and leave the scripts well alone, as even a solid leading turn from national treasure Olivia Colman isn’t enough to salvage the film. Review

With Armageddon Time, James Gray presents an unsweetened illustration of the pursuit of the American dream. Whilst Paul and Johnny fantasise about NASA and rocket ships, this stunning period piece keeps its feet firmly on the ground and is all the better for it. Review

A solid entry into the Dardennes’ collection of bleak, social-realist struggles, Tori & Lokita is a simple but effective illustration of immigration’s potential pitfalls. Difficult to endure yet culturally important to witness, this is an all-too-timely cautionary tale. Review

A strangely refreshing take on the gaslighting thriller sub-genre, the simplicity of the narrative beats only amplify their truthful impact. Watcher is suspenseful, subversive, and smartly conceived; an almost anti-mystery thriller, signalling writer and director Chloe Okuno as one to watch. Review

Rich in texture, packed with laughs, and poignant in its macabre portrayal of a futile feud between allies, The Banshees of Inisherin is an accomplished piece of work. It’s an absolute masterclass in tone, a deft balancing act between comedy and tragedy. Review

A sharp social satire that challenges our cultural perspectives, Vengeance marks an ambitious debut from B.J. Novak, working both as an engaging crime flick and an outlet for his abundance of ideas. Review

An assured and accomplished directorial debut from Neil Maskell, Klokkenluider is terrifically economical with its truth, and executed with a striking flair. Review

While Olivia Wilde’s stylish sophomore feature Don’t Worry Darling might feel like an updated version of a movie we’ve seen before, there’s enough quality in Florence Pugh’s magnificent central performance that it seals victory within its plastic-wrapped sheen. Review

A fitting finale to the cult comedy trilogy, Clerks III manages the honour the original without tarnishing its legacy. “I’m not even supposed to be here” cries a disgruntled Dante in his now-mimicked mantra, but we’re very glad he showed up for work. Review

A deliciously damning indictment of the youth of today, Halina Reijn’s Bodies Bodies Bodies is as cutting as it is comical. Review

As gripping as it is grotesquely funny, The Forgiven is a brilliant depiction of despicable characters, and another hit for acclaimed writer and director John Michael McDonagh. Review

This subtle sci-fi observation from writer and director Kogonada feels like a watered-down interpretation of more powerful and daring tales of the same ilk. With a striking aesthetic and some strong performances, After Yang is never really dull, but it is ultimately rather boring. Review

Malachi Smyth’s The Score has just enough swagger to style out its flaws, even if it’s not always on song. Review

Illustrating a skilful flair for crafting suspense, director Andrew Semans manages to display deft control of his protagonist as she loses grip of her sanity. Resurrection marks a striking sophomore effort, elevated by a transfixing turn by Rebecca Hall. Review

An impeccably crafted and thought-provoking debut by Charlotte Wells, Aftersun delivers a cocktail of happy hours and heartache, and introduces Frankie Corio as a bright and exciting new talent. Review

Owing such a huge debt to the ideas of Stephen King, Derrickson’s latest effort is dragged down by a script that almost bankrupts itself of originality. Despite a madcap leading turn from Ethan Hawke, The Black Phone isn’t as off the hook as it thinks it is. Review