MOVIE OF THE WEEK January 23, 2026: H IS FOR HAWK

Based on the same-named 2014 memoir by British writer, naturalist, and academic Helen Macdonald — and boasting an affecting star performance from Claire Foy — director Philippa Lowthorpe’s pensive drama H Is for Hawk is a contemplative examination of a daughter’s grief in the wake of her beloved father’s unexpected death. It’s also a beautiful story about how Helen’s bond with a fierce goshawk named Mabel ultimately helps her find her way out of the darkness.

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H IS FOR HAWK – Review by Jennifer Merin

The exquisitey crafted H is for Hawk is British filmmaker Philippa Lowthorpe’s profoundly moving and utterly engaging cinematic metaphoric meditation on mourning and the transitory nature of life and nature, itself. The script, cowritten by Lowthorpe with Emma Donahue and based on the autobiographical memoire by Helen Macdonald, is structured to keep you thoroughly emotionally captivated, while simultaneoulsy providing sufficient space for the story to seep into your psyche and generate contemplation of its meaning. Powered by Claire Foy’s brilliant performance, H is for Hawk is unforgettable. It is a must see!

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H IS FOR HAWK – Review by Loren King

It’s a tall order to translate to the screen what’s delicately layered on the page. But what the film has is Claire Foy, as a version of memoir writer Helen Macdonald, a prickly nature-lover and academic who, in the wilds of grief over the sudden death of her beloved father, photojournalist Alisdair Macdonald (Brendan Gleeson), adopts and trains a goshawk she names Mabel. Mabel is a dangerous predator who must feed on birds and animals and whose icy stare is actually scary. An emotional support pet she is not.

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H IS FOR HAWK – Review by Leslie Combemale

Early in the new narrative release H is for Hawk, an expert in the field of falconry calls goshawks the “perfectly evolved psychopath”. Why, then, does research Cambridge fellow and mourning daughter Helen Macdonald want to commit to training one? The answer is examined through a cinematic adaptation of Macdonald’s award-winning memoir of the same name, chronicling the sudden loss of her father and her subsequent connection with a goshawk. Audiences are witness to Macdonald’s (Claire Foy) highest and lowest points on her journey of loss, from shock to anger and depression to an inevitable point where she must move forward into acceptance. Though audiences are witness to some of grief’s lowest lows, this human and hawk and this chronicle of the way they move through nature, are a study in the transformational power of the human/animal connection.

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H IS FOR HAWK – Review by T.J. Callahan

I am not sure co-starring in a feature film with a bird of prey was on celebrated actress Claire Foy’s bingo card, but she soars to the occasion in H is for Hawk. The very British biographical drama is written and directed by Philippa Lowthorpe and based on the New York Times bestselling memoir of the same name from Helen Macdonald. Foy is Helen, an academic and a daddy’s girl. When her father unexpectedly dies, Helen retreats into her home and into herself. Trying to keep her father alive by recreating their shared love of birds and nature, Helen buys a goshawk she names Mabel and spends her days training the bird to hunt. Mabel becomes Helen’s security blanket of sorts helping her to rediscover the beauty of life.

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THE BANSHEES OF INISHERIN – Review by Jennifer Green

Categorized as a “musical or comedy,” Banshees is indeed laugh-out-loud funny at some of its more absurd moments. But it’s a dark humor that can almost make you feel bad about laughing once you realize just how tragic the characters and events director Martin McDonagh has scripted are. Their horizons are as limited as the view from their island, where an endlessly overcast sky vanishes into a grey sea.

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THE BANSHEES OF INISHERIN – Review by Susan Granger

Golden Globes nominees Colin Farrell and Brendan Gleeson deliver memorable performances in The Banshees of Inisherin but whether you want to spend two hours in their company on an isolated island off the coast of Ireland is purely a matter of choice. Set in 1923, this tragicomedy follows the fractured friendship of amiable Padraic Suilleabhain (Colin Farrell) and stolid Colm Doherty (Brendan Gleeson). Accustomed to meeting every afternoon for a pint of stout at the local pub, Padraic cannot understand why Colm now refuses to join him there – or even engage in conversation.

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THE BANSHEES OF INISHERIN – Review by Diane Carson

Writer/director Martin McDonagh engages head on and provocatively with confrontational characters battling anger management issues He again grabs the tiger by the tail, isolating his characters on a fictional island off Ireland’s northern coast in 1923. Best of friends, Colm Doherty and Padraic Súilleabháin head to the local, and only, pub for their pints and extended conversation every day. But this isn’t an ordinary afternoon, and friction ensues immediately.

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THE BANSHEES OF INISHERIN – Review by Rachel West

Martin McDonagh delivers a perfect take on male friendship in his latest tragi-comic tale, The Banshees of Inisherin. Following his Oscar-winning film Three Billboards Outside Ebbing, Missouri (2018), the writer-director reunites with his In Bruges (2008) powerhouse duo Brendan Gleeson and Colin Farrell for a story that will have all three men vying for Academy Awards. Their chemistry and sheer dynamism on screen make Farrell and Gleeson’s performances not just the best of the year, but perhaps, the best of their lengthy careers.

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THE COMEY RULE – Review by Diane Carson

Deciding to adapt former FBI director James Comey’s 2018 memoir A Higher Loyalty for Showtime’s series The Comey Rule, writer/director Billy Ray faced a daunting task. He needed to present extensively reported well-known recent events accurately and dramatically, while also adding insightful information. Ray meets this challenge by finding the heart of the story not in added details but in the conflict of an ethical individual handling political dynamite.

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