THE MARSH KING’S DAUGHTER – Review by Valerie Kalfrin

For most of her adult life, Helena has felt cleaved in two, unsure of where she belongs. In one of the more powerful moments from The Marsh King’s Daughter, Daisy Ridley as Helena stands illuminated in headlights, detailing the homemade tattoos her father gave her as a child when they lived off the grid. He marked her first kill of a deer on her neck. Her first miss on her forearm. Dotted her cheeks to represent tears, so she’d never cry in front of him. Based on Karen Dionne’s best-selling book of the same name, the film The Marsh King’s Daughter feels unsure as well. It’s part psychological drama, part thriller, but not an effective whole.

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BABYTEETH -Review by Lois Alter Mark

Milla is dying, and she’s determined to experience love – in all its messiness – before she leaves this earth. She knows her first love will also be her last, and she accepts that. In the meantime, though, she wants to live – really live – and Moses takes her out of her middle class suburban comfort zone both literally and figuratively.

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UNTOGETHER – Review by Leslie Combemale

Untogether examines creativity and intimacy, how they intertwine, give rise to inspiration and feelings of inadequacy, and often self-destruct under the pressure we put on them. There are moving scenes that will ring true to anyone who has struggled to keeping their inner fire stoked, but is likely to evoke frustration in viewers forced to watch such self-obsessed characters over the 98 minute running time.

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ROBIN HOOD – Review by Sarah Ward

The latest version of Robin Hood takes its cues from modernised medieval epics to give audiences a high-energy dose of action, although nobody will feel particularly richer or poorer for it. Returning the folkloric figure to the big screen for the first time since 2010, this is a new, younger-skewing original story rather than a rehash, with designs on setting up a new franchise.

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