Sam Wood

Related Reviews/Features

The Beanie Bubble review – a grim new low for the “corporate biopic” genre

With none of the saving graces of Tetris, Air, or Barbie, this ambition-free look at the Beanie Baby craze is pure mediocrity

Repertory Rundown: What to Watch in London This Week, From Coppola to Cross of Iron

From classics to cult favourites, our team highlight some of the best one-off screenings and re-releases showing this week in the capital

20 Best Films of 2023 (So Far)

With the year at the halfway point, our writers choose their favourite films, from daring documentaries to box office bombs

The Wicker Man review – still the definitive experience in folk horror

Robin Hardy's iconic nightmare is back for its fiftieth anniversary, reaffirming its status as a singular entry in the horror canon

The Old Man Movie: Lactopalypse! review – berserk stop-motion comedy is a laugh riot

This absurdist Estonian animation from Mikk Mägi and Oskar Lehemaa makes for a maddeningly immature and hilarious ride

The Old Oak review – Ken Loach’s last film is classic Ken Loach, for better or worse

The director's alleged "final" movie is another heavy-handed revolt against modern Britain, but its optimism eventually wins through

Indiana Jones and the Dial of Destiny review – serviceable sequel is digging in the wrong place

Though it has its moments, James Mangold's bid to recapture the franchise magic mostly feels like an act of imitation over inspiration

Inland Empire review – David Lynch’s nightmare fuel masterpiece returns to stalk cinemas

Few other films have ventured as far down the rabbit hole as this three-hour long avant-garde headtrip, now restored in gorgeous 4K

Jeanne du Barry review – surprisingly tame period drama is tasteful to a fault

Maïwenn directs and stars alongside Johnny Depp in a watchable but unremarkable film about Louis XV's favourite mistress

Dmytro Sukholytkyy-Sobchuk on Pamfir: “When Russia invaded, my film became historical”

Adam Solomons talks to the Ukrainian director about his Cannes hit and how even a non-political film can be bastardised by war