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  • Vox Lux

    Vox Lux


    “One for the money, two for the show…”

    In the year 1999, Celeste Montgomery (Raffey Cassidy) survives a mass shooting at her school in Long Island, New York. During rehabilitation, Celeste writes a song about her experience and performs it at a memorial service with her older sister Eleanor (Stacey Martin). The song instantly becomes a hit; an anthem for the grieving nation, and with the guidance of her talent manager (Jude Law), Celeste is transformed overnight into an international…

Recent reviews

  • Elles



    Juliette Binoche sitting. Juliette Binoche thinking. Juliette Binoche walking. Juliette Binoche working. Juliette Binoche confused. Juliette Binoche in a bad mood. Juliette Binoche in a good mood. Juliette Binoche in a bad mood again. Juliette Binoche drinking wine. Juliette Binoche eating spaghetti. Juliette Binoche regurgitating spaghetti. Juliette Binoche laughing hysterically. Juliette Binoche getting aroused. Juliette Binoche climaxing. Juliette Binoche dancing.

    Juliette Binoche being Juliette Binoche.

    Anything less than three stars would be a crime.

    This is art.

  • Aladdin



    Nope, just nope.

    I’m not opposed to a good remake, in fact I kind of love them, but this was honestly pathetic. 

    Every moment of magic felt forced. Nothing was sincere.

    If I got a dollar for every time I rolled my eyes, I’d be able to afford a real magic carpet to get as far away as possible from this steaming pile of cow dung.

    Thanks for running my childhood memories, Guy!

Popular reviews

  • Chernobyl



    Nerve-shredding, well-paced and grimly told; Chernobyl is by far the greatest dramatization of human error ever produced for television, emphasising that the toxicity of humanity is just as destructive as the deadly fumes of nuclear energy. This is truly terrifying stuff.

  • Bastards



    Arguably Claire Denis’ most vexing piece of work, Bastards is challenging through both theme and perspective; a simmering mystery exploring the darker shades of the human condition and unhinged capitalism. 

    It never succumbs to exposition or a burst of over-sentimentality to set the story straight. Prepare to be lost, frustrated even, but also haunted by the imagery. 

    The way Denis frames the human face and body never ceases to mesmerise me; the curves, the lines, the shadows - stunning! 

    It’s moody, it’s dark, it’s the work of a true autuer all over.