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ARCHIVE

  • Pierce Brosnan Provides The Ultimate Bond Marathon (And Not Just For Christmas)
    24th Dec 2021

    Pierce Brosnan Provides The Ultimate Bond Marathon (And Not Just For Christmas)

    Ceridwen Millington
  • ‘√964 Pinocchio’ (1991): Vengeful Outcast, Emetic Spirit
    4th Dec 2021

    ‘√964 Pinocchio’ (1991): Vengeful Outcast, Emetic Spirit

    Tyler Simeone
  • Watching ‘Night of the Living Dead’ (1968) in the Wake of a Pandemic
    27th Nov 2021

    Watching ‘Night of the Living Dead’ (1968) in the Wake of a Pandemic

    Claire Davidson
  • Always a Bridesmaid and Never a Bride, Until Now: How ‘Bridesmaids’ (2011) Allowed Women to Take the Front Seat in Comedies 
    25th Nov 2021

    Always a Bridesmaid and Never a Bride, Until Now: How ‘Bridesmaids’ (2011) Allowed Women to Take the Front Seat in Comedies 

    mmstein
  • ‘Solaris’ (2002) is a Romantic Sci-Fi Film That Needs Revisiting
    23rd Nov 2021

    ‘Solaris’ (2002) is a Romantic Sci-Fi Film That Needs Revisiting

    Ceridwen Millington
  • ‘Requiem For A Dream’ Doesn’t Haunt Like ‘Last Exit To Brooklyn’
    29th Oct 2021

    ‘Requiem For A Dream’ Doesn’t Haunt Like ‘Last Exit To Brooklyn’

    Ceridwen Millington
  • ‘Midnight Mass’ and the Humanity within Mike Flanagan’s Horror
    26th Oct 2021

    ‘Midnight Mass’ and the Humanity within Mike Flanagan’s Horror

    Eoin O’Donnell
  • The Humanity of 2000s Postmodernist Cinema
    2nd Oct 2021

    The Humanity of 2000s Postmodernist Cinema

    McKinzie Smith
  • Going ‘Down With Love’: Sex, Lies, and Romantic Comedies
    27th Sep 2021

    Going ‘Down With Love’: Sex, Lies, and Romantic Comedies

    Megan Robinson
  • Perfect Humiliation: ‘All About Lily Chou-Chou’ (2001), Adolescence, and the Dawn of the Internet Loner
    22nd Sep 2021

    Perfect Humiliation: ‘All About Lily Chou-Chou’ (2001), Adolescence, and the Dawn of the Internet Loner

    Tyler Simeone
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