TAKE ONE Magazine

Carmen Paddock TAKE ONE Magazine Oct 23, 2026 Shot in Academy ratio and black and white, the resulting world feels out of time and place, nostalgic for a past that never was. Go to Full Review Fatherland (2026) 91% - -

Jim Ross TAKE ONE Magazine Oct 23, 2026 LA BOLA NEGRA posits that "too many love stories have been buried in the soil", and although the suffering that accompanied them was buried also, the film proves they can yet bloom again into something touching. Go to Full Review La Bola Negra (2026) 87% - -

Jim Ross TAKE ONE Magazine Oct 22, 2026 THE SOCIAL RECKONING is an absorbing look at the process of airing Big Tech’s dirty laundry. However, in its desire for catharsis and heroes the film itself reckons with very little. The film stares into the algorithmic abyss, blinks, and looks away. Go to Full Review The Social Reckoning (2026) 54% - -

Jim Ross TAKE ONE Magazine Oct 22, 2026 ...wonderful delivery from its actors, and delightful asides between characters that its portrait of regret & friendship allow space for. However, muddled placement in a broader thematic picture results in a less enduring whole than McDonagh’s best work. Go to Full Review Wild Horse Nine (2026) 93% - -

Jim Ross TAKE ONE Magazine Oct 13, 2026 THE MATCH is a dynamic and bold look at Argentina v England in 1986, but the narrow focus starts to feel like fawning and incurious tunnel vision rather than dedicated analysis. Go to Full Review The Match (2026) - - - -

Jim Ross TAKE ONE Magazine Oct 6, 2026 I LOVE BOOSTERS is a disorienting rip through numerous ideas[, but] if the years in between this SORRY TO BOTHER YOU have shown anything, it’s that we have to drink from the fire hose and do our best to take action now. Now is not the time for nuance. Go to Full Review I Love Boosters (2026) 92% - -

Jim Ross TAKE ONE Magazine Sep 29, 2026 More than two decades on from release, ZIDANE: A 21ST CENTURY PORTRAIT remains a high watermark for footballing cinema, abstract character study, and film as digital art installation. Go to Full Review Zidane: A 21st Century Portrait (2006) 68% 62%

Jim Ross TAKE ONE Magazine Sep 8, 2026 THE SAVIORS has interesting things to say about xenophobia, suspicion, and acceptance, even if it holds its most interesting cards in reserve for a hand it never ends up playing. Go to Full Review The Saviors (2026) 80% - -

Jim Ross TAKE ONE Magazine Jul 27, 2026 THE ODYSSEY is a triumphant piece of filmmaking; one that fills the frame in all dimensions, spatial and emotional. THE ODYSSEY depicts the homecoming of Odysseus, but perhaps it better represents the homecoming of Nolan as a storyteller. Go to Full Review The Odyssey (2026) 94% - -

Jim Ross TAKE ONE Magazine Jun 29, 2026 [Showcases] the medium and Romvari's abilities to deliver a tangible, shared experience of a subjective process difficult to put into words. Although constructed of fuzzy memories and half-truths, the impression it leaves is firm and enduring. Go to Full Review Blue Heron (2025) 97% - -

Jim Ross TAKE ONE Magazine Jun 9, 2026 BACKROOMS is an eerily realised creative vision, but it’s difficult to escape the idea that it takes a suboptimal turn away from the technical strengths that give this adaptation such a firm footing. Go to Full Review Backrooms (2026) 86% - -

Carmen Paddock TAKE ONE Magazine Jun 4, 2026 Unfortunately, performances and occasional wit cannot save KÖLN 75 from being baffling and trying. Unlike the real concert, this film squanders what could be a great premise on a too-neat feel-good story. Go to Full Review Köln 75 (2025) 89% - -

Jim Ross TAKE ONE Magazine Apr 28, 2026 MICHAEL will inevitably attract ire with its depiction of Jackson’s life, or, more accurately, what it seems to omit. However, MICHAEL is also an inexplicably boring film which is bland at best and cowardly at worst. Go to Full Review Michael (2025) 38% - -

Jim Ross TAKE ONE Magazine Apr 24, 2026 OMAHA might not employ the most thoroughly crafted methods by grabbing the heartstrings in its fist, but the cast’s performances capture an honesty, nonetheless, and drive home empathy that is difficult to put aside. And maybe you shouldn’t. Go to Full Review Omaha (2025) 91% - -

Jim Ross TAKE ONE Magazine Apr 23, 2026 EXIT 8 leans a little too heavily on [the 'liminal space'] aesthetic to remain fully engrossing for even the succinct 95-minute runtime, but the film finds its way much faster than The Lost Man did. Go to Full Review Exit 8 (2025) 92% - -

Jim Ross TAKE ONE Magazine Apr 17, 2026 By the time Will Keen is introduced as Boris Berezovsky, and almost immediately opens with "I’ll tell you my story", a dose of Polonium-210 already begins to feel inviting a mere half hour into the prolonged 136-minute runtime. Go to Full Review The Wizard of the Kremlin (2025) 44% - -

Jim Ross TAKE ONE Magazine Apr 17, 2026 Even if DEPARTURES leans heavily on its influences before it establishes what it wants to say, there are enough novel angles and flourishes that its bolshy Mancunian voice is clearly heard and worth listening to. Go to Full Review Departures (2025) 95% - -

Jim Ross TAKE ONE Magazine Apr 12, 2026 THE DRAMA renders philosophical thought experiments as tangible personal relationships. The film is both fiendishly juvenile and thought-provoking, with Kristoffer Borgli's black comedy approach harmonising these two qualities. Go to Full Review The Drama (2026) 76% - -

Jim Ross TAKE ONE Magazine Apr 2, 2026 Frankenstein is, in part, about unchecked ambition & 'filthy creation'. In pursuing greatness, Victor brought misery upon a creature of which he lost control. Maybe THE BRIDE! is a good adaptation of Shelley's work in spirit, if not in practice. Go to Full Review The Bride! (2026) 57% - -

Jim Ross TAKE ONE Magazine Apr 2, 2026 Although it’s possible PROJECT HAIL MARY doesn’t have quite the gravitas some of the story’s darker and more philosophical corners offer, its constellation of stars remains resolutely undimmed. Go to Full Review Project Hail Mary (2026) 95% - -