Movie reviews of Garry Arnot

It might not give you the happy ending you’d expect, but Good Luck to You, Leo Grande is funny, clever, and surprisingly endearing. Review

Like the protagonist himself, the film refuses to bow to conventions, but deft direction by Jens Sjögren and strong frontman performance from Rushiti combine to give an entertaining origins story of one of football’s greatest superheroes. Review

Top Gun: Maverick can be appreciated for its high-intensity, hypersonic action sequences that swoop and soar to new heights but with as many eye rolls as barrel rolls, its cringe was only acceptable in the 80s. Review

Between Two Worlds is a well-made and very well-acted commentary on the issues working-class people can come up against, made even more timely by the cost-of-living crisis we are currently experiencing. However, due to the iffy optics of its central character, the film leans too heavily on the side of ‘poverty porn’, lacking the emotional gut-punch you would expect from this type of tale. Review

Despite its flaws, it remains a refreshing, entertaining antidote to the more mainstream efforts of this ilk, and the Daniels are an absolute credit to original, independent filmmaking. Review

A bold and accomplished sophomore picture that signals its writer and director Nathalie Biancheri as one to watch, Wolf is a visceral character drama that intensifies her cinematic voice to a howl. Review

Splashing his well-earned creative currency on a grandiose pagan pagger, Robert Eggers is visibly growing in confidence and The Northman only strengthens his stature. With just the right amount of weird, it’s an ambitious, almighty feat of filmmaking that sacrifices none of the visionary director’s mythical madness. Review

Off the back of an often stuffy and serious awards season, popcorn flick The Lost City is a fantastic antidote to this; mindless but very entertaining. It heavily relies upon the screen presence and winning spark of Sandra Bullock and Channing Tatum, but they definitely deliver the goods, reminding us why they’re both class acts in this field of cinema. Review

A striking sophomore effort from director Audrey Diwan, Happening is an incredibly challenging yet vital piece of work that presents itself as a timely social-issue thriller. Not for the faint-hearted but well worth watching through your hands in horror. Review

A subtle study of romance within the complicated confines of modern city life, Jacques Audiard’s Paris, 13th District is a beautifully devised monochrome masterpiece, and introduces the exciting new talent of Lucie Zhang to the big screen. Review

Presenting a refreshing modern-day slant on the genre, The Worst Person in the World is a romance dramedy that should have universal appeal. Trier has completed his triptych of Nordic tales with a flourish, and a winning portrayal from Renate Reinsve turns ordinary problems into extraordinary cinema. Review

Leaning into the farcical nature of its story, Howard J. Ford’s The Ledge makes the very most of the platform it gets to play on by crafting some gripping set pieces. As the villains become almost pantomime-esque in their portrayals, it makes it fun and easy to root for Brittany Ashworth in this amusingly far-fetched thriller. Review

At the beating heart of the piece is an emotionally charged central turn from Arcelia Ramirez. The social-realist style and sensitivity of the skilful director helps to draw out a very natural, moving performance, elevating La Civil from the expectations of the premise. Review

At the dark heart of it all is, of course, Robert Pattinson, who consistently makes interesting choices in the parts he takes on. He’s perfect for Matt Reeves’ emotionally twisted, brooding incarnation of The Batman, or simply ‘vengeance’ as he identifies himself as to his hapless victims. If the writing improves for the chapters that will undoubtedly follow, it may well become his greatest role to date. Review

Disappointingly flat but certainly not without its merits, Nanni Moretti’s Three Floors is a mixed bag of misery-porn. Review

Let True Things wash over you but take another shower immediately afterwards; it’s a deeply unpleasant but completely intoxicating experience that masterfully captures the ugly insecurities and uncertainties of a toxic love affair. Review

While the script’s wry sense of humour might not always stick the landing with international audiences, the material is elevated by Donutil’s dedicated and vital performance as the no-nonsense protagonist. Review

The execution of its themes may be a little on the nose, but Ross McCall introduces himself as a visually inventive director with a flair for presenting vicious brutality. Review

Proving that he can be just as impactful as a director as he is an on-screen presence, Flag Day is a compelling father-daughter drama from Sean Penn. Leaning into his own experience, he injects genuine emotion into this rugged adaptation’s pivotal relationship. Review

More of a big screen art-installation than a movie, Apichatpong Weerasethakul’s Memoria is a challenging, bamboozling experience but when immersed in its oddities, it can also be thought-provoking and bizarrely rewarding. Review

A sweet and sweaty tribute to aimless adolescence, Paul Thomas Anderson’s Licorice Pizza serves up a satisfying slice of 70s nostalgia and introduces two future stars of cinema to our screens. Review

Affectionately crafted and beautifully portrayed by its formidable cast, Belfast brilliantly illustrates the closeness of community, then proceeds to show how quickly it can be ravaged by terrible conflict. However, by telling the troublesome tale through the bright eyes of an imaginative child, it’s a poignant, comical reflection of Branagh’s boyhood. Review

C’mon C’mon marks another kind-hearted hit from Mike Mills, his affectionate writing and direction providing a platform that showcases the acting talents of Phoenix and Norman. This effort has a little less to say for itself than his previous films, but it’s a pleasant experience to eavesdrop on its conversations. Review

King Richard is a bloated spectacle of self-righteousness made tolerable only by a handful of well measured performances. Review