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Jim Ross on Muck Rack

Jim Ross

Verified
(He/Him)
London
As seen in: TAKE ONE Magazine, Letterboxd, Little White Lies, Cultured Vultures, Varsity, Film Inquiry, Vague Visages, Roobla
Covers:  Film, Cinema, Movies, Film Festivals
Now elsewhere under same name • Scottish, part-time film critic • Editor @TAKEONECinema • 📻🎙️ Co-prod’ @Cinetopia @EHFM_live • ✍️ @VagueVisages @LWLies & ++ •
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Jim Ross’s Journalist Portfolio

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Backrooms | TAKE ONE Magazine | Reviews

Backrooms | TAKE ONE Magazine | Reviews

TAKE ONE Magazine — 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.
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Michael | TAKE ONE Magazine | Reviews

Michael | TAKE ONE Magazine | Reviews

TAKE ONE Magazine — 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.
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The Drama | TAKE ONE Magazine | Reviews

The Drama | TAKE ONE Magazine | Reviews

TAKE ONE Magazine — 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.
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The Brutalist | TAKE ONE Magazine | Reviews

The Brutalist | TAKE ONE Magazine | Reviews

TAKE ONE Magazine — The film will stand the test of time, both in terms of the ideas and questions it raises, as well as a beautiful example of the moving image. However, something about THE BRUTALIST arriving now lends the film potency.
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Dune: Part Two | TAKE ONE Magazine | Reviews

Dune: Part Two | TAKE ONE Magazine | Reviews

TAKE ONE Magazine — DUNE: PART TWO improves on its predecessor in some crucial ways, but the reliance on spectacle leaves gaps in the storytelling and a frustratingly ephemeral interest in the most interesting ideas the film brings forward.
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Sundance Review: Jakub Piatek’s ‘Prime Time’

Sundance Review: Jakub Piatek’s ‘Prime Time’

Vague Visages — ‘Prime Time’ is at its most energetic and engaging during the early scenes; a setup familiar enough for any viewer of Sidney Lumet’s ‘Dog Day Afternoon’ or the many films he inspired.
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The Irishman Review

The Irishman Review

Cultured Vultures — Blending the popular gangster hits with Scorsese's more contemplative works, The Irishman represents a profound success for all involved and engages with deep and spiritual ideas, whilst also being vividly entertaining.
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Joker: a Batmobile with the engine of a clown car | TAKE ONE | Reviews

Joker: a Batmobile with the engine of a clown car | TAKE ONE | Reviews

TAKE ONE Magazine — Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips's film is a Batmobile with the engine of a clown car. Jim Ross reviews.
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Beats: Captures The Spirit Of A Friendship & The State Of A Nation

Beats: Captures The Spirit Of A Friendship & The State Of A Nation

Film Inquiry — It’s hard to avoid comparisons between Brian Welsh‘s Beats and a touchstone of Scotland’s depiction in modern cinema: Danny Boyle‘s Trainspotting. Both are set in a slightly downbeat mid-1990s Scotland, featuring drug-taking and dance music from the fringes of Scottish society. However, Beats admirably carves its own path to be both a keen evocation of time and place, and a product of here and now.
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Charlotte Wells Interview | TAKE ONE Magazine | Festival Coverage

Charlotte Wells Interview | TAKE ONE Magazine | Festival Coverage

TAKE ONE Magazine — Jim Ross interviews Charlotte Wells, director of BLUE CHRISTMAS and two other award-winning shorts, about the film - nominated for Best Scottish Short at Edinburgh Short Film Festival - and her work.
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Glastonbury the Movie (In Flashback) review

Glastonbury the Movie (In Flashback) review

Little White Lies — In its more aesthetic flights of fancy, Glastonbury the Movie (In Flashback) is visual and aural delight. As a window on pre-Britpop Glastonbury, it makes for fascinating and often captivating viewing. Though it too often it wrenches you away from the action just as it’s getting interesting. Much like Glastonbury itself these days, the film is a frustrating mélange of the poetic and the prosaic.
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