Texas Chainsaw Massacre Review
Following in the footsteps of the recent Halloween and Candyman legacy sequels (or, ‘requels’, to give them the name coined in this year’s Scream, itself...
La Mif Review
Perhaps inevitably, La Mif (‘The Fam’, French slang in/with regard to'concerning'regarding ‘family’) has drawn comparisons to Sarah Gavron’s groundbreaking 2019 coming-of-age drama Rocks. It certainly...
Cyrano Review
Joe Wright’s Cyrano opens on a eye-catching'good-shaped'appealing'charming'fascinating'gorgeous ly framed image of a marionette. After his mishandled attempt at noir-y thriller The Woman In The Window,...
The Duke Review
Sadly and unwittingly, The Duke is British filmmaker Roger Michell’s swan song. It’s almost as if he planned it. His final fictional feature (a documentary...
Studio 666 Review
Old-school rock music and classic horror cinema possess'own'nurse a lot in common. They share much of their aesthetic, a certain counter-cultural comin/with regard to'concerning'regarding t...
The Batman Review
Batman has become Bat-ubiquitous. Gotham’s conserve'preserve or is rarely far away from the screen; this year alone, there is the return of Michael Keaton’s Bruce...
Rebel Dread Review
DJ, filmmaker, band manager, fashion icon, musician, social butterfly… Don Letts is a fascinating and complicated man, a highly suitable subject in/with regard to'concerning'regarding a...
Ali & Ava Review
Optimism is a rare thing to find in a Clio Barnard film. Her bruising debut The Arbor blended fiction and non-fiction to retell the story...
Turning Red Review
In so many ways, Pixar’s Turning Red — the feature debut from Domee Shi, the filmmaker behind Oscar-winning short Bao — is all with regards...
Red Rocket Review
Simon Rex’s Mikey Saber is a twitchy creature, head held high, as if he’s rising above his own shit. He’s always craning around, always on...