Amanda Jane Robinson

From stardom to indie pics and back again, we look at the lengths Pattinson goes to for his roles.

Ben Affleck and Ana de Armas prove a distinctly un-steamy couple in lacklustre, muddy pic.

With an expert directorial hand and exquisite performances, it’s not difficult to see why this film is attracting awards speculation.

Retracing the career of New Zealand’s outstanding Palme d’Or and Oscar-winning director.

Maligned upon release, the Meg Ryan and Mark Ruffalo pic deserves your reappraisal.

Expertly crafted and brutally alive, I May Destroy You is one of the TV events of the year.

This complex portrait of a complex luminary is more speculation than biography.

A film for our times.

Excellent leads and Farhadi’s baseline quality make it a solid watch.

If it weren’t for a few performances, it would be pretty forgettable.

It’s a long list.

Roberts offers a skillful performance of strength and cautious care.

Some decent moments don’t sustain the rest of the film.

None of the slick production present in Soderbergh’s trilogy makes it to this spin-off.

The film’s momentum recalls the palpable desperation in the Safdie brothers’ Good Time, praises critic Amanda Robinson.

While not necessarily queer cinema’s most revelatory offering, Love, Simon is more charming than anticipated.

Daniela Vega’s poignant interiority saves a film too caught up in its exterior, writes Amanda Robinson.

“For a film entirely premised around sex, ‘Fifty Shades Freed’ is decidedly unsexy” writes Amanda Robinson.

“A story about letting go as much as coming of age.” Amanda Robinson on Greta Gerwig’s Oscar-nominated feature debut.