Monica Dolan

Almost forensic in its approach, this smart thriller explores a drone strike from a variety of perspectives that bring the moral dilemmas sharply into focus. This includes textured performances from seriously gifted actors who add layers of political, military, legal and emotional meaning to each moment along the way. So the film is continuously gripping, putting the audience right in the middle of the action.

The target is in a suburb of Nairobi, where three of the world's most wanted Somali jihadists are gathering to prepare two young suicide bombers for a mission. British Colonel Powell (Helen Mirren) is overseeing the operation from London, with her American drone pilots (Aaron Paul and Phoebe Fox) working in Las Vegas. The hitch is that two of the targets are UK citizens, and one is American, which means that they also need to have government officials in on the discussion. So Lt General Benson (Alan Rickman) is watching with British government ministers (including Jeremy Northam and Monica Dolan). Meanwhile in Kenya, a local operative (Barkhad Abdi) is on the scene. But just as everyone agrees to fire the missile, a young girl (Aisha Takow) wanders into the danger zone.

What follows is a remarkably tense escalation of decision-making, as everyone passes the buck up the chain to avoid making the call themselves. Guy Hibbert's script orchestrates this skilfully, keeping the atmosphere taut while stirring generous doses of black comedy into the interaction between soldiers and politicians. This includes amusing scenes in which Britain's foreign secretary (Iain Glen) is dragged into the conversation while suffering food poisoning in Singapore. Yes, the film has a terrific sense of instant global connections, as its characters work together at a huge distance from each other and from the target of their operation.

Continue reading: Eye In The Sky Review

While cinematic blockbusters tickle the eyes, this film dazzles the soul. This is a remarkably evocative drama that gets deep under the skin, challenging us to see ourselves in a rather outrageous situation that shifts from quietly disturbing drama to unsettling freakiness. It's strikingly written, directed and performed to get into our heads and stay there like few movies do.

The story is set in 1969 in a girls' school located in the lush English countryside, where 16-year-old Lydia (Maisie Williams) and her best pal Abbie (newcomer Florence Pugh) are members of the Alternative School Orchestra. They're also inseparable, carving their undying love into a tree trunk. But once Lydia has sex with a boy, their relationship begins to shift. And when Abbie faints in class, it seems to become contagious. Suddenly girls are collapsing all around the school, much to the consternation of the headmistress (Monica Dolan) and her stern deputy (Greta Scacchi). As the hysteria spreads, Lydia gets increasingly confused by the occult beliefs of her older brother (Joe Cole) and the agoraphobic behaviour of their mother (Maxine Peake). But what she really misses is her childhood connection with Abbie.

Writer-director Carol Morley (Dreams of a Life) lets this play out like a deranged fairy tale in which Lydia's voyage to self-discovery is both wondrous and terrible at the same time. In its vivid exploration of feminine adolescence, the film echoes such classics as Picnic at Hanging Rock or Heavenly Creatures, by way of David Lynch and Nicolas Roeg (whose son Luc is one of the producers here). And the bold, knowing themes are echoed in gorgeously artful cinematography by the great Agnes Godard plus a stunner of a soundtrack by Tracey Thorn. Amid this sumptuous atmosphere, Morley weaves an enigmatic story packed with mystery, revelations and yes, burgeoning sexuality. But even more than this, the film taps in to the earth-mother power girls discover as they emerge into womanhood.

Continue reading: The Falling Review

Even by Ben Wheatley's genre-busting standards, this film is a triumph, centring on comedy and romance in a road movie about two violent serial killers. After the terrific Down Terrace and Kill List, we probably should have expected as much, but this film exceeds expectations at every turn, keeping us laughing and cringing all the way to the fiendishly clever conclusion.

Tina (Lowe) defies her disapproving mother to go on a caravan holiday in northern England with her new boyfriend Chris (Oram). As they head through the picturesque Lake District and Yorkshire Dales, Tina is momentarily shocked when Chris runs down an annoying thug with their car. She decides it must be an accident, but as the body count grows she develops a taste for killing. Meanwhile, their relationship is going through the usual ups and downs as they struggle to live together in the confined quarters of their caravan while Tina's mum continues to pester them. So there are other things besides their homicidal urges that strain their romance.

Wheatley gives the film a cheerful tone that catches us off guard. It starts like a typical British black comedy, with sarcastic humour and romantic undercurrents. And the road trip takes in a series of dazzling landscapes, offbeat tourist attractions, picturesque campsites and even an adorable dog. So watching it merrily morph into something brutally murderous is both terrifying and funny. We begin to laugh nervously any time someone puts him or herself into their path, gasping at the possibilities and then staring dumfounded at where things go.

Continue reading: Sightseers Review