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Leap Year

Leap Year

By Tom McGoldrick, 11th July 2010

According to Irish tradition, a lady may propose to a man on the 29th February which, of course, only occurs in a Leap Year.

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Get Him To The Greek

Get Him To The Greek

By Dan Higgins, 5th July 2010

Although the template of the film is the same tired routine, a refreshing, lyrical Russell Brand gives new energy to a weary format.

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Greenberg

Greenberg

By David Hudson, 13th June 2010

Baumbach has crafted another whimsical and thought-provoking piece of work, which this time dwells upon ageing, depression and regret.

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The Wolfman

The Wolfman

By Dan Higgins, 13th June 2010

In the same way that it’s funny seeing a dog wearing clothes, there is something amusing about a wolfed-up Benicio Del Toro still wearing a suit.

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Robin Hood

Robin Hood

By Dan Hollis, 15th May 2010

The action is kinetic and exciting and I absolutely cannot fault the cinematography, but I wouldn’t expect anything less from the director of Blade Runner. What I would expect is a dose of originality.

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Kick-Ass

Kick-Ass

By Joe Fraser, 25th April 2010

Realism is turned way down, the violence dial is stuck on 11, and all is adorned with a vibrant technicolour.

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A Serious Man

A Serious Man

By Richard Parkin, 14th March 2010

This marks the Coen Brothers’ return, after the so-so star spangled affair that was Burn After Reading, to a more Fargo-esque approach to film making, and one that gets back in touch with their own youth.

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Thirst

Thirst

By David Hudson, 9th February 2010

Thirst is definitely not for the squeamish – and there’s no shortage of blood, violence or, indeed, sex.

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Inglourious Basterds

Inglourious Basterds

By Ben Hobson, 8th December 2009

Inglourious Basterds can be considered Tarantino’s literal take on the idea that cinema could fight the Nazis, and ultimately it is Tarantino’s love for cinema that makes the film so enjoyable.

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Brüno

Brüno

By Natalie Peck, 8th November 2009

Baron Cohen certainly knows how to push buttons, his success largely based on the ability to exploit the fears and prejudices of those around him, and nowhere is it done better, or to such a sheer volume, than in Brüno.

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