Our Kind of Traitor “retains the necessary energy and commitment to mystery that keeps hurtling le Carre’s duplicitous dilemmas towards viewers,” finds Sarah Ward.
Sarah Ward talks to director Anna Rose Holmer about her first feature, The Fits.
“Daddy’s Home sticks with the banalities and bland execution its sitcom-like premise inspires,” says Sarah Ward.
Charting two men wading through the global financial crisis, 99 Homes “gathers its tension from their complexities,” says Sarah Ward.
Page-to-screen adaptation Madame Bovary “misses the spark so crucial to its story,” finds Sarah Ward.
“Gemma Bovery showers its concept with more adoration than it does attention,” finds Sarah Ward.
Sarah Ward talks to director Ariel Kleiman about his first feature, Partisan.
Horror remake Poltergeist is “wrapped up in a grey-tinted, CGI-heavy, more-is-more perspective,” finds Sarah Ward.
“Trash is best seen as a fairytale unravelling in life-like, modern-day surroundings,” says Sarah Ward.
“Infini always acts and looks the part of a conventional, closed-in, sci-fi thriller,” says Sarah Ward.