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Clarisse Loughrey
Chief film critic@clarisselou
Clarisse Loughrey is the chief film critic for The Independent. She also co-hosts The Big Screen Book Club and Fade to Black podcasts.
The Zendaya drama Challengers is thrilling and extravagantly sexy
Luca Guadagnino’s thrilling new movie posits that every conversation is a tennis match, and every tennis match is a sex scene – you will be powerless to resist it
Why is Millie Bobby Brown wasting her time on dreck like Damsel?
We’re more than two decades into a post-‘Shrek’ world, and the concept of an anti-fairytale where the women can kick butt is no longer fresh – someone should have told Netflix
Why is Millie Bobby Brown wasting her time on dreck like Damsel?
We’re more than two decades into a post-‘Shrek’ world, and the concept of an anti-fairytale where the women can kick butt is no longer fresh – someone should have told Netflix
Andrew Scott is at his career-best in the tender All of Us Strangers
Paul Mescal co-stars in Andrew Haigh’s melancholy drama, in which a lonely screenwriter encounters the spirits of his deceased parents
Andrew Scott is at his career-best in the tender All of Us Strangers
Paul Mescal co-stars in Andrew Haigh’s melancholy drama, in which a lonely screenwriter encounters the spirits of his deceased parents
Anne Hathaway beguiles her way through the twisty, homoerotic Eileen
Thomasin McKenzie co-stars in this ice-cold noir in which two mysterious women let their lust draw them towards disturbing fates
Anne Hathaway beguiles her way through the twisty, homoerotic Eileen
Thomasin McKenzie co-stars in this ice-cold noir in which two mysterious women let their lust draw them towards disturbing fates
The Exorcist: Believer is boring and parched from a lack of scares
This is a toned-down, more limply palatable iteration of William Friedkin’s 1973 classic: the projectiled pea soup is gone, the verbal abuse has been whittled down to a single ‘c***ing’, and any and all acts committed with crucifixes barely register a shock
The Exorcist: Believer is boring and parched from a lack of scares
This is a toned-down, more limply palatable iteration of William Friedkin’s 1973 classic: the projectiled pea soup is gone, the verbal abuse has been whittled down to a single ‘c***ing’, and any and all acts committed with crucifixes barely register a shock
