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ARCHIVE

  • Women in Horror: Jenni and Jacinda's Top 2019 Horror Releases
    25th Mar 2020

    Women in Horror: Jenni and Jacinda's Top 2019 Horror Releases

    Jacinda Perez
  • 'Bringing up Baby' (1938) is a Revolutionary Queer Protest
    24th Mar 2020

    'Bringing up Baby' (1938) is a Revolutionary Queer Protest

    Michaela Barton
  • 'Portrait of a Lady on Fire' (2019): Crafting Memory Through Witnessing
    23rd Mar 2020

    'Portrait of a Lady on Fire' (2019): Crafting Memory Through Witnessing

    Rivka Yeker
  • Let the Past Die: Generational Conflict in Rian Johnson Films
    21st Mar 2020

    Let the Past Die: Generational Conflict in Rian Johnson Films

    Gavin Spoors
  • Thor, ‘Avengers: Endgame’, And The Problem With Fatsuits
    20th Mar 2020

    Thor, ‘Avengers: Endgame’, And The Problem With Fatsuits

    Sophie Butcher
  • GFF REVIEW: The Plot of ‘Dirt Music’ Lets Down Passionate Lead Performances
    18th Mar 2020

    GFF REVIEW: The Plot of ‘Dirt Music’ Lets Down Passionate Lead Performances

    Sophie Butcher
  • REVIEW: In Voyeuristic Drama ‘The Night Clerk’, There’s Too Much Told and Too Little Shown
    17th Mar 2020

    REVIEW: In Voyeuristic Drama ‘The Night Clerk’, There’s Too Much Told and Too Little Shown

    Hayley Paskevich
  • GFF REVIEW: ‘County Lines’ Is An Unmissable Debut From Henry Blake
    16th Mar 2020

    GFF REVIEW: ‘County Lines’ Is An Unmissable Debut From Henry Blake

    Sophie Butcher
  • REVIEW: ‘Calm With Horses’ Is A Truly Heart-Pounding Thriller With A Revelatory Lead Performance
    15th Mar 2020

    REVIEW: ‘Calm With Horses’ Is A Truly Heart-Pounding Thriller With A Revelatory Lead Performance

    Sophie Butcher
  • REVIEW: ‘The Invisible Man’ (2020) is a Stunning Reinvention of a Classic Movie Monster
    13th Mar 2020

    REVIEW: ‘The Invisible Man’ (2020) is a Stunning Reinvention of a Classic Movie Monster

    Kaiya Shunyata
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