Rory O'Connor

[Venice Review] The Untamed

There’s something dark and wonderful lurking in The Untamed, the brilliant, frightening, hyper-real erotic mystery from the mind of Mexican auteur Amat Escalant...

[Venice Review] Hacksaw Ridge

Mel Gibson is back in the director’s chair after a decade to remind us, in his own devout way, that war is hell and faith is good. Hacksaw Ridge, his new World ...

[Venice Review] Safari

Isn’t it strange how cinema’s greatest misanthropes always seem, deep down, to be the most empathetic. It’s as if the total lack of sentiment for (and complete ...

[Venice Review] Nocturnal Animals

“You have to learn to enjoy the absurdity of our world,” says Michael Sheen’s L.A. socialite to Amy Adams' disillusioned art gallery owner at the after party of...

[Venice Review] Chuck

Chuck looks a bit familiar. A film of browns and greens; disco music and ‘70s rock tunes; big haircuts and even bigger lapels. Indeed, in a way reminiscent of r...

[Venice Review] Arrival

In Arrival, prolific Québécois director Denis Villeneuve ponders the ramifications and possibilities of a potential first-contact between human beings and an ad...

[Venice Review] La La Land

There’s a great recurring gag in Whiplash director Damien Chazelle’s La La Land -- a beautiful, audacious, aesthetically vibrant, and enchanting contemporary mu...

[Cannes Review] After the Storm

Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being medi...