Another year, another Edinburgh International Film Festival. The world’s longest continually running film festival continues with a pleasantly diverse range of films as usual, from home-grown tales of romance and mass sensory loss (the highly anticipated Perfect Sense, starring Ewan McGregor and Eva Green) to the welcome return to the gritty and violent slums of Rio De Janeiro (Elite Squad 2), to name but a couple. Ross Miller will be there for the fourth year running, giving you daily updates and reviews on as many of the films showing at this year’s 11 day festival as he can fit in. We hope you enjoy the coverage!
My closing thoughts on the EIFF 2011, including my picks of the best and worst the festival had to offer.
Philip Seymour Hoffman continues to prove his worth as one of the best actors in the business.
Fails to deliver on its intriguing premise.
Unfortunately the film does little, if anything, to break out from the mould and becomes "just another prison drama."
Mixing true-to-life and often black humour with a skillfully crafted feeling of quiet suspense.
Manages very skilfully to convey a simultaneous sense of both hopefulness and hopelessness.
Has a lot to offer in the way of emotionality and quiet power.
Half the time Weekender is plain irritating, but writer Chris Coghill hits some great emotional beats.
The fact that the film has very solid performances from the young cast helps you to overlook its evident shortcomings.
Takes what is now a conventional style of found-footage filmmaking and puts a unique stamp on it.
This is about as preposterous and nonsensical as supernatural horror/thrillers come.
Albatross is exactly what you hope for from a coming-of-age "dramedy".
Its inherent strangeness only adds to the fun.
This has audience pleaser written all over it.
More than enough there for those who enjoyed the City of God-esque world last time around.
Undoubtedly fun and inventive.
If nothing else it’s worth seeking out for Vincent Cassel’s captivating performance alone.
An understated yet powerful gem of a character drama.
The film doesn’t seem to know what it wants to be.
This is a comedy which stands on the shoulders of Brendan Gleeson and the veteran carries it with apparent ease.