An oddly untapped epoch in film, Ireland’s Great Famine is gifted the western treatment in Lance Daly’s Black ‘47. The title refers to 1847, the worst year of the tragedy, in which a million died and a million more emigrated, whilst the film unveils its horrors through the eyes of a renegade ranger. Perhaps at the expense of a more nuanced sociopolitical drama, this is an entertainingly brazen Revenant meets The Road tale of revenge.
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Peyton Reed’s jovial sequel to 2015’s Ant-Man comes via a much less complicated production background than its predecessor. Fewer re-writes and disagreements behind the scenes and a director present from conception to release. In the wake of the behemothically over-stuffed Infinity War, it’s a much needed breather.
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Performance artist and short film writer-director Camille Thoman veers into feature production with Never Here, a viscerally absorbing exercise in cinematic disturbia. An arch descendant of Hitchcock, the film, which is often unbearable to watch, demands the unwavering attention of audiences. If Thoman’s drifting approach frustrates, it does so with relish.
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