MOVIE
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Orphan – first-look review | Little White Lies
In the closing credits of Orphan, cinematographer Mátyás Erdély receives billing before the screenwriters. While unconventional, this order aligns with the…
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The Life Of Chuck review – soliloquy soup
This year Mike Flanagan, known best for turning horror’s greatest novels into palatable limited television series for Netflix, is switching…
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The extreme vulnerability of Joaquin Phoenix
Looking at his last four projects, it seems that Phoenix perfected his precise working formula – hyper-ambitious, complex-to-realise films from…
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Sorry, Baby review – a film about holding on to…
Something very bad happened to Agnes. It’s hinted at in the first segment of Sorry, Baby, when her best friend Lydie…
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My Grandmother Trelotótó review – a world of…
Hoping to resurrect her late grandmother, Júlia, Catarina Ruivo combines family archives with rich visuals in a non-fiction film which successfully…
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Unmoored review – jars its own style
A huge sigh releases from deep within Maria (Mirja Turestedt) as she is greeted by a mob of photographers and journalists…
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Weapons review – fun but familiar horror hijinks
If you’ve been to the cinema in the past few months, specifically to watch a horror film, you might have seen…
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Freakier Friday review – nothing quite compares…
For many millennials and Gen Z cinephiles, Mark Waters’ Freaky Friday is a cornerstone of early 2000s cinema. The third adaptation of Mary…
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Inside the inaugural edition of the Collective Film Festival London
A dispatch from a passionate grassroots project over in Finsbury Park. ‘Diversity’ and ‘inclusion’ have become corporate buzzwords, vibe-free boxes…
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Bring Her Back + Directors Danny and Michael Phillipou | The Naked Gun | Naked Gun (1988)
On the show this week we discuss Bring Her Back and speak to its delightful directors Danny and Michael Phillipou.…
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