Film Cred

Devoted to providing a platform for new writers covering film and beyond.

Favorite films

Don’t forget to select your favorite films!

Recent activity

  • Babylon

  • EO

  • Roald Dahl's Matilda the Musical

  • Luckiest Girl Alive

Recent reviews

  • Babylon


    "Babylon is at its strongest when diving into how films were made during the silent era, large-scale sets and all, but falls flat when pivoting to narratives that end up being cliché-ridden. Everything from the over-the-top production design to the costumes and mesmerizing cinematography is masterful. Chazelle’s frequent collaborator Justin Hurwitz continues to stun with an incredible score that samples from and expands upon his work on La La Land and perfectly underscores the unhinged events that unfold."

    Read more of Jihane Bousfiha's review here

  • EO


    "EO clearly reveres its star character and the six animals — Hola, Tako, Marietta, Ettore, Rocco, and Mela — playing the titular role. The donkeys are at times so charismatic that they appear to emit an otherworldly glow. EO is often shown among other creatures more typically known for their grace and beauty, but the viewer’s eye is never tempted to look away. This film has one beatific protagonist and no showcase stallion is going to steal the show.


Popular reviews

  • The Power of the Dog

    The Power of the Dog

    "Campion’s austere command over the (in)visible reveals itself in the specter of time as we watch the gradual disintegration of a repressed soul. Through the folds of sunlight and shadow a mountain ridge yields, we see all of Phil, yet, we know nothing. The darkness lies in Cumberbatch’s snarl, under the suffocation of his vacant gaze; yet the sun of his charm persists. His wickedness is a puzzle: the world feels beneath him, his formidable wit surrounded by asinine bozos, something only mollified by well-placed insults."

    Read more of Dylan Foley's review here

  • My Name Is Pauli Murray

    My Name Is Pauli Murray

    "It is a shame, then, that a figure as inspiring as Pauli Murray is rendered with such uninspiring filmmaking. The documentary is simply not cinematic enough. It is bogged down by lengthy on-screen text — quotes, love letters, bills, newspaper cuttings, doctors’ reports, legal documents, you name it — that, coupled with the overreliance on slow pans across archive photographs, stunts the film’s rhythm and makes it visually flat. Devices that are initially effective, such as tension-building split screens that show Murray facing off with powerful, sometimes ideologically opposed figures, grow tired through excessive use."

    Read more of Yasmin Omar's review here