REVIEW: Dimension 20’s ‘A Crown of Candy’ is a Royal Success

Following the adventures of a royal family and their court, this season mashes up Game of Thrones-style politics with a Candyland-inspired setting for a captivating story where nothing is as it seems.

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GFF REVIEW: ‘Perfect 10’ Is A Stunning Debut Coming-Of-Age That Definitely Sticks The Landing

Whilst her protagonist is only just finding her feet, Eva Riley’s first feature ‘Perfect 10’ oozes with confidence.

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REVIEW: ‘The Complex’ (2020) is an Admirable Attempt at Pushing the Interactive Film Genre Forward

Video games and films are different mediums, yet their respective industries are adamant that they share enough similarities to blend the two together. Here, we have the live-action interactive science-fiction film, The Complex.

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BFI FLARE REVIEW: ‘My Fiona’ (2020) Is A Heartfelt Look at Love And Loss.

Kelly Walker’s directorial debut plots Jane’s mourning for Fiona as she tries to find peace and space beside Fiona’s wife, Gemma (Corbin Reid), and Fiona’s seven-year-old son, Bailey (Elohim Nycalove).

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REVIEW: ‘Jumbo’ Is An Inventive Hybrid of a Modern Love Story and a Full-Body Sensory Experience

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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Battle of the Killer Prom Nights

Remakes versus originals, old versus new, and so on. Hollywood loves to remake its beloved classics, more notably, their horror classics. Franchises like Halloween, Texas Chainsaw Massacre, and Friday the 13th have been rebooted numerous times. With so many redo’s and re-adaptations, arguments circle around which is better: the original or the remake. Though many would argue the original, this is not always the case. Some remakes score farther and higher than their predecessors, so we want to look at some remade classics to determine which is the superior.

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REVIEW: ‘Saint Maud’ Is Big On Shocks And Style, But Questionable On Substance

Singular, striking and extremely well executed, Saint Maud is a treat at first sight – though as the themes and overarching message sink in, it could leave a more bitter aftertaste.

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BFI FLARE REVIEW: ‘Pride & Protest’ (2020) Proudly Voicing Activism

“With all due respect, you don’t get to decide who is homophobic or not,” states Ferhan Kahn, a queer Muslim activist, who very calmly provides a counter to an anti-LGBTQ protest outside a Birmingham primary school.

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REVIEW: 'Trixie Mattel: Moving Parts (2019)' Doesn't Hold Anything Back

In 2017, the man beneath the wig, Brian Firkus, and filmmaker, Nick Zeig-Owens, decided to document one of the busiest years of the drag queen’s life.

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Review: ‘The Wolf Hour’ (2020) Naomi Watts Melts Away in Half-Baked Thriller

June’s self-imposed exile amidst a city going mad under the sun and in the shadow of a serial killer is perhaps a strange inversion to the current global isolation gripping the world.

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