Riefenstahl (2024)
100%
5/5
“Hard answers are never spun off. Veiel builds a robust and nuanced dossier rather than a witch hunt. For this reason, Riefenstahl is a doc of uncommon integrity.” –
Sunday Independent (Ireland)
May 8, 2025
Full Review
Motel Destino (2024)
74%
4/5
“Think The Postman Always Rings Twice with flip-flops and cachaça cocktails.” –
Sunday Independent (Ireland)
May 8, 2025
Full Review
Parthenope (2024)
45%
3/5
“...those prone to [Paolo Sorrentino's] sensual brand of Mediterranean romance will happily lose themselves in these drowsy blue hazes and breeze-caressed curtains. It might, however, prove too gauche and languid for some viewers.” –
Sunday Independent (Ireland)
May 1, 2025
Full Review
Fréwaka (2024)
95%
4/5
“Laced with ambiguity and climaxing with rare control and dread, Clarke hits a bullseye with a folk horror that nods to a modern Ireland haunted by its own past.” –
Sunday Independent (Ireland)
Apr 24, 2025
Full Review
The Friend (2024)
84%
4/5
“Watts and Murray, both guilty of being underutilised to their full potential in recent years, immerse themselves into characters with rich interiors who are conversing across the afterlife.” –
Sunday Independent (Ireland)
Apr 24, 2025
Full Review
Verdigris (2023)
3/5
“A core of great humanity is visible in Kelly’s premise, but a bigger achievement might be the fine performances she draws out of her two leads. A little more development among secondary characters...would have provided added ballast.” –
Sunday Independent (Ireland)
Apr 20, 2025
Full Review
Sins of Ireland (2024)
4/5
“By the end, we leave [the film] with an appreciation of what it looks like to have a nuanced, grown-up examination of something that hides in plain sight.” –
Sunday Independent (Ireland)
Apr 20, 2025
Full Review
One to One: John & Yoko (2024)
90%
4/5
“This is an effortlessly absorbing portrait of a megastar dancing to a charged political era.” –
Sunday Independent (Ireland)
Apr 10, 2025
Full Review
The Return (2024)
78%
3/5
“...The Return offers us a moody, sun-baked brand of mythos that bears its eternal fable on the shoulders of titanic acting ability.” –
Sunday Independent (Ireland)
Apr 10, 2025
Full Review
Restless (2024)
96%
3/5
“What begins as a taut and visceral domestic thriller, one that unravels with disquieting authenticity, descends into a slightly farcical final act which undoes not only the tension but some of the darkly comic appeal.” –
Sunday Independent (Ireland)
Apr 3, 2025
Full Review
The Most Precious of Cargoes (2024)
71%
4/5
“In an animation style that nods heavily to Kawase Hasui’s woodblock prints, the saga is as full of beauty and humanity as it is unflinching of the horrifying context.” –
Sunday Independent (Ireland)
Apr 3, 2025
Full Review
Misericordia (2024)
96%
4/5
“[Felix] Kysyl is perfectly slippery as the cuckoo in the nest who compounds deception upon deception, while [Catherine] Frot is excellent as a character with her own evasive manoeuvres. A saga of cold twists and sharp eyebrow raises.” –
Sunday Independent (Ireland)
Mar 28, 2025
Full Review
The End (2024)
56%
3/5
“To be grappling with themes of expiry, human rights and planetary collapse...is certainly novel, but pegging this against a post-apocalyptic setup might be too much of a tonal stretch for some viewers.” –
Sunday Independent (Ireland)
Mar 26, 2025
Full Review
Flow (2024)
97%
5/5
“Overflowing with gravity, beauty and heart, Flow is one of the most unique and astonishing experiences this reviewer has had in 20 years on the job.” –
Sunday Independent (Ireland)
Mar 20, 2025
Full Review
Black Bag (2025)
96%
4/5
“While having his signature finger-click pace and jaundiced tone, this is some of the most satisfying work from Soderbergh in a while.” –
Sunday Independent (Ireland)
Mar 14, 2025
Full Review
Ernest Cole: Lost and Found (2024)
97%
4/5
“Celebrated Haitian filmmaker Raoul Peck stays close to his natural habitat with this Cannes-winning documentary profile of exiled South African photographer Ernest Cole.” –
Sunday Independent (Ireland)
Mar 6, 2025
Full Review
Day of the Fight (2023)
85%
4/5
“Day of the Fight is thus a competent, compelling and tidy addition to the canon, even if it mightn’t have the outright pizazz to stand out. ” –
Sunday Independent (Ireland)
Mar 6, 2025
Full Review
The Last Showgirl (2024)
83%
2/5
“Something with real texture and clout could have been pieced together here that would have had things to say about outdated brands of live entertainment and how women’s value in showbiz is too often predicated on youthfulness. ” –
Sunday Independent (Ireland)
Feb 26, 2025
Full Review
Vermiglio (2024)
93%
5/5
“The rhythms are stately and momentous, with Mikhail Krichman’s photography and the director’s exquisite framing reminding us of the medium’s extraordinary capacity for beauty. ” –
Sunday Independent (Ireland)
Feb 26, 2025
Full Review
I Am Martin Parr (2024)
90%
4/5
“This is a brisk and delightful study of a single-minded creative spirit who has amassed an incredible body of work. ” –
Sunday Independent (Ireland)
Feb 21, 2025
Full Review
I'm Still Here (2024)
97%
5/5
“Remarkable for every second as the woman fighting for justice in an unjust homeland, Torres took a Golden Globe for this performance and more awards might be in the pipeline. ” –
Sunday Independent (Ireland)
Feb 21, 2025
Full Review
Memoir of a Snail (2024)
95%
3/5
“The animation won’t win any beauty prizes any time soon, but that is all part of the squalid charm at the core of the story.” –
Sunday Independent (Ireland)
Feb 14, 2025
Full Review
To a Land Unknown (2024)
97%
4/5
“Fleifel makes his feature debut with a festival favourite that builds to an excruciating, if dour, crescendo of stakes. Underlying the piano-wire tension is a sorry fable about displacement and trauma that is all too relevant to these times. ” –
Sunday Independent (Ireland)
Feb 14, 2025
Full Review
Dog Man (2025)
80%
4/5
“Don’t be too alarmed if you find yourself cackling in unison with your tickled offspring.” –
Sunday Independent (Ireland)
Feb 13, 2025
Full Review
September 5 (2024)
93%
4/5
“Magaro, Sarsgaard, Benesch, and Chaplin dim the lights for a film that trades off a shaky-handed, docu-drama immediacy rather than showy exposition.” –
Sunday Independent (Ireland)
Feb 5, 2025
Full Review
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