What makes a disturbing movie so effective? Hannah Granberry breaks down some of the tropes and tricks of feel-bad films.
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“Among Black actors, Danny Glover’s screen legacy is still unsung.” A retrospective look at Glover’s impressive career as he turns 75.
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These two films elegantly unravel what it means to experience things as inconceivable as they are alluring, which continually pull at and dismantle human instinct.
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The experience Zhao aims for is one that engages thoroughly with the modern-day repercussions of Manifest Destiny. She excites us about a romantic lifestyle with boundless opportunities, but uses this lifestyle to question the mythology of the West.
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“What remains brutally unwavering is the violence inflicted on female characters and its link to male fantasy and desire.”
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Zoé Wittock makes her feature directorial debut with Jumbo, sporting an equal disregard for the conservative, in both a fantasmic and ambitious fashion.
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Daniel Draper and Allan Melia explore Liverpool 8 in their latest film, using Don McCullin’s photographs as a rough guide.
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This month Bridesmaids will be celebrating its ten year anniversary, a modern commercial and critical hit.
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Much like every other movie from Shyamalan’s filmography, this film leaves the viewer hanging on the edge of their seat for the entire runtime.
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‘The Birthday Cake’ falls short on several counts, but namely in its heavy-handed writing. There are no subtle flavors to this cake, nor any masterful strokes of the icing on top.
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‘Factory to the Workers’ explores the only example of a working factory co-operative in post-socialist Europe, examining its triumphs, its shortcomings, and what is holding it back.
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A dark look at parenthood and the exceptional challenges it can bring, but its homage to great cinema doesn’t quite pay off.
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LGBTQ+ audiences sometimes want more light-hearted stories — like 2014’s ‘Pride,’ written by Stephen Beresford.
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A personal look at how on screen representation can be life-changing.
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Ten years on, John Boyega’s portrayal of young black masculinity in Attack the Block still rings true.
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What is fascinating about ‘The Village Detective,’ as well as perhaps Morrison’s recent practice, is the ability to take a piece of unwanted footage that was tossed away many years ago, and use the documentary form to archive it in such a way that its context and value are maximised.
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Moulin Rouge is unmistakably its own creation, unified in its vision, unfailingly precise in its execution, and achingly sincere in its portrait of a first, lost love.
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As the show is centred on a young girl’s journey of self-discovery and overcoming her traumatic childhood, it is assumed that it would get the feminist stamp of approval.
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