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Simran Hans

Tomatometer-approved critic
Biography:

Simran Hans is a culture writer and former film critic for the Observer. Simran writes about culture—mostly film, but also music, books, art, fashion, food, TV, and the Internet—in the form of profiles, reported features, criticism, essays, and editorial for brands. She is also a member of the London Critics Circle.

Reviews

Movies TV Shows
Tiger Stripes (2023) 97% EDIT “Amanda Nell Eu's inventive debut about a young girl's 'monstrous' transformation belongs to a proud lineage of both Malaysian folklore and coming-of-age films that externalize the onset of female puberty. ” – Sight & Sound Dec 31, 2025 Full Review Àma Gloria (2023) 100% EDIT “A six-year-old and her beloved Cape Verdean nanny are given one last summer to say goodbye in Marie Amachoukeli's moving drama. ” – Sight & Sound Dec 22, 2025 Full Review My Favourite Cake (2024) 100% EDIT “Maryam Moghaddam and Behtash Sanaeeha’s gentle romantic comedy dares to ask if Mahin actually wants to move through life unnoticed. ” – Sight & Sound Dec 18, 2025 Full Review Nickel Boys (2024) 92% EDIT “Ross simply shows how each boy sees the world, drawing attention to where their gaze drifts. He prioritises their individual humanity, by illustrating their inner lives.” – Sight & Sound Nov 11, 2025 Full Review Holy Cow (2024) 98% EDIT “Faveau’s performance as a teenage boy struggling to express his emotions is unshowy but fine-tuned.” – Sight & Sound Nov 5, 2025 Full Review The Wedding Banquet (2025) 86% EDIT “Mostly, the film is lighthearted and fun, which is why it wobbles a little when trying to find its balance. Ahn treats the theme of a chosen family with earnest, weary seriousness, but the grounded dramatic performances can jar with the zippier jokes. ” – New Statesman May 20, 2025 Full Review April (2024) 95% EDIT “It’s a serious approach that declines to show the audience the mother’s catharsis, a challenge to the idea that birth is always joy, and abortion always terror. ” – New Statesman Apr 28, 2025 Full Review The Last Showgirl (2024) 83% EDIT “Anderson’s performance is genuinely moving, but without narrative scaffolding, the film starts to fall apart. ” – New Statesman Feb 22, 2025 Full Review The Fire Inside (2024) 93% EDIT “If the movie sounds like a bummer, it’s really not. Atlanta’s Tyree Henry’s natural jovial warmth makes him a perfect foil for Shields’ cool reserve; their banter is a joy to watch.” – New Statesman Jan 31, 2025 Full Review Maria (2024) 76% EDIT “Being on first name terms with a person tends to imply intimacy, but in Larraín’s new film Maria, the Chilean director has no idea who his subject is.” – New Statesman Jan 10, 2025 Full Review Moana 2 (2024) 60% 3/5 EDIT “The film’s world-building is glorious, the ocean bathed in romantic pink light and its deep-sea creatures decorated in bioluminescent patterns. ” – Financial Times Nov 26, 2024 Full Review Wicked (2024) 88% EDIT “Bailey’s swagger channels Patrick Swayze in Dirty Dancing: here’s hoping he has more scenes in Part 2.” – New Statesman Nov 21, 2024 Full Review The Substance (2024) 89% EDIT “Ozempic, Botox, “vampire facials”: the lengths women will go to to look good and stay relevant are ripe for satire. This grimly funny body horror takes those lengths to comic extremes. Still, it is a blunt instrument.” – New Statesman Sep 18, 2024 Full Review Beetlejuice Beetlejuice (2024) 75% EDIT “It’s revealing that Burton has bothered to resurrect this ancient material. Like Lydia, the director has cashed in on his past.” – New Statesman Sep 11, 2024 Full Review Love Lies Bleeding (2024) 94% EDIT “The film is at its most fun and original when it leans into surrealism.” – New Statesman May 3, 2024 Full Review Challengers (2024) 88% EDIT “It’s a brilliant showcase for Zendaya, whose on-screen magnetism has rarely been channelled so effectively.” – New Statesman Apr 24, 2024 Full Review The Book of Clarence (2023) 65% EDIT “The film is definitely a comedy, and a lot of the jokes work. But the three chapters or “books” that Samuel divides the film into aren’t evenly weighted. While the first two acts zip by... [the third] drags.” – New Statesman Apr 17, 2024 Full Review Monkey Man (2024) 89% EDIT “Blood-spurting, bone-crunching violence is shot at messy close range, relying on sheer kinetic energy as opposed to elegant blocking and staging. Mostly though, it works. The film is a riot.” – New Statesman Apr 3, 2024 Full Review The Iron Claw (2023) 89% EDIT “Efron is an underrated actor, and this is a star-making performance.” – New Statesman Feb 21, 2024 Full Review The Boy and the Heron (2023) 96% EDIT “I just found it utterly transporting.” – Monocle Jan 5, 2024 Full Review Saltburn (2023) 72% EDIT ““Your politeness is so grating,” Venetia tells Oliver. So, too, is Fennell’s faux-rebelliousness. In Saltburn, the director has fallen into the same trap as a first-year Oxbridge student -- thinking flair can distract from having very little to say.” – New Statesman Nov 10, 2023 Full Review How to Have Sex (2023) 97% EDIT “The film makes the sharp assessment that for both young men and women, constant exposure to a culture steeped in sex does not necessarily lead to useful carnal knowledge.” – New Statesman Nov 9, 2023 Full Review Return to Seoul (2022) 97% EDIT “Park Ji-min is incredible in this film. I cannot believe it was a debut performance. She's so magnetic, and unpredictable, and sexy, and changeable.” – Monocle May 26, 2023 Full Review Are You There God? It's Me, Margaret. (2023) 99% EDIT “It's so innocent. It's really sweet.” – Monocle May 26, 2023 Full Review The Banshees of Inisherin (2022) 96% EDIT “I think what's quite clever about the structure of the film is that McDonagh flips your allegiances [in a way that's very finely balanced.” – Monocle Oct 27, 2022 Full Review
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