Image still from the film New Order. A woman and man sit in the front seats of a car that's had its window shield splashed with green paint. The woman looks behind horrified.

LFF REVIEW: ‘New Order’ (2020) is a Chaotic, Ultra-Violent Dystopian Warning

By: Kevin Woodley
Featured, Festivals, Film, Reviews, , , , , , Leave a Comment on LFF REVIEW: ‘New Order’ (2020) is a Chaotic, Ultra-Violent Dystopian Warning

A fierce, uncompromising nightmare from Franco, meant to scream like a vision of a future that’s already revealing itself in the present.

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Image still from the horror film The Intruder. A dark, blue-tinted background, a woman (Érica Rivas) dubs sound effects into a microphone.

LFF REVIEW: ‘The Intruder’ (2020) is a Dull, Ineffective Paranormal Thriller

By: Kevin Woodley
Featured, Festivals, Film, Reviews, , , , , , Leave a Comment on LFF REVIEW: ‘The Intruder’ (2020) is a Dull, Ineffective Paranormal Thriller

All of the ingredients are there, but they’ve been swished into a diluted, forgettable cocktail that’s more of a nightcap than a rush to the head.

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LFF REVIEW: ‘Industry’ (2020) is an Entertaining but Flawed Financial Drama

By: Gavin Spoors
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Industry excels at putting the audience in the moment, but lacks urgency and depth.

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This image is from the film Another Round. A dishevelled middle ages man engages in conversation.

LFF REVIEW: ‘Another Round’ (2020) Fails to Say Anything New or Meaningful

By: Gavin Spoors
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Unfortunately Another Round goes through familiar themes without adding anything new to the table.

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A man (Ray) with a hiking backpack stands behind a tree, hiding from an oncoming cart.

NIGHTSTREAM REVIEW: ‘Lapsis’ (2020) is a Grounded Sci-Fi Dystopia

By: Beca
Featured, Festivals, Film, Reviews, , Leave a Comment on NIGHTSTREAM REVIEW: ‘Lapsis’ (2020) is a Grounded Sci-Fi Dystopia

Lapsis (2020) introduces its audiences to a world where Quantum computers rule and the need has arisen for cablers, a new occupation wherein people hike up and down hills laying cables and hooking them up to giant boxes in the woods.

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LFF REVIEW: ‘Possessor’ (2020) is an Engrossing, Nihilistic Dreamscape

By: Gavin Spoors
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What we do get, however, is a stylish blood-soaked thriller bolstered by strong performances and a strong visual identity.

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Why You Can’t Separate Camp and Horror

By: Michaela Barton
Columns, Essay, Featured, Film, LGBTQ+, Opinion, That's So Gay, , , , , , , , , , , , , , , , , , Leave a Comment on Why You Can’t Separate Camp and Horror

The art of camp is both nuanced and outrageously blatant in the best way. It’s like being slapped in the face by a penguin wearing a bedazzled denim jacket – you’re not too sure what’s happening, or why it’s happening, but you damn well notice it…

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Adam Sandler as Hubie rides a bicycle as he is being chased by a group of children wearing Ghostface masks.

REVIEW: ‘Hubie Halloween’ (2020) is Just Another Standard Happy Madison Romp

By: Alina Faulds
Film, Reviews, , , , , , , Leave a Comment on REVIEW: ‘Hubie Halloween’ (2020) is Just Another Standard Happy Madison Romp

Obviously, people who already don’t like Adam Sandler are going to hate Hubie Halloween out of principle, but those who love and admire the Sandman are going to enjoy themselves.

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A transparent grim reaper in The Phantom Carriage.

Now That’s What I Call Kino #12 – Silent Era Classic: The Phantom Carriage

By: jamespalmerfilm
Featured, Film, Now That's What I Call Kino, , , Leave a Comment on Now That’s What I Call Kino #12 – Silent Era Classic: The Phantom Carriage

This week’s column piece may be a short one as London Film Festival has kept me busy, but I’m still carrying on with the spooky theme for October by highlighting a classic horror film from the silent era that you should check out: The Phantom Carriage (1921). One of the most important and earliest works…

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LFF REVIEW: ‘Supernova’ (2020) Shines Bright with Glowing Performances

By: Emily Maskell
Featured, Festivals, Film, LGBTQ+, , , , , Leave a Comment on LFF REVIEW: ‘Supernova’ (2020) Shines Bright with Glowing Performances

Supernova is a tender, devastatingly gorgeous road trip, brooding with introspection.

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