Now That’s What I Call Kino #19 – The Comic Strip Style of Sergio Corbucci

John Ford had John Wayne, Sergio Leone had Clint Eastwood and Sergio Corbucci had Franco Nero. Often seen as the face of Spaghetti Westerns, Nero’s rise to cult fame had a director correlation with the works of Corbucci. Making several Westerns during his illustrious career, his most acclaimed work came during the late 60s, like…

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SUNDANCE REVIEW: ‘Cryptozoo’ (2021) Believes in a World of Magic

While it definitely has its issues, Cryptozoo’s creativity really shines, giving it an undeniable charm.

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IFFR 2021: ‘King Car’ (2021), ‘Madalena’ (2021), and the Power of Brazilian Cinema

After an impressive 2019 in Cannes, with Bacurau earning such deserving praise, and The Invisible Life of Euradice Gusmao picking up the Un Certain Regard, this year’s IFFR proves that it has one.

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‘Howl’s Moving Castle’ (2004): Emotional-Support Ghibli and Learning to Love Myself

While completely whisking you away in it’s magic, Howl’s Moving Castle also effortlessly displays the subliminal power of self-love.

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SUNDANCE REVIEW: ‘The World to Come’ (2021) Tells a Beautiful Tale of Yearning and Desire

With The World to Come, Fastvold has given us a story of female desire that feels honest and tangible, crafting moments of bliss among historically accurate disappointments and tragedies.

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Top of the Docs #39 – Sundance: All Light, Everywhere

One of the hidden gems from this year’s Sundance, Anthony has quietly made one of the most vital documentaries of the year, one that shows nearly 50 years on that Harry Caul’s breakdown in trust was more than justified.

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SUNDANCE REVIEW: ‘Eight For Silver’ (2021) is a Brutal Reimagining of Werewolf Lore

It’s an atmospheric, visually striking period piece that thrives most in the quiet moments of unease, capable of crafting terror in your mind from anticipation and imagination alone.

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REVIEW: Mike Cahill’s Sci-fi Drama ‘Bliss’ (2021) Gets Lost in a Silly, Weightless Plot

Not even Owen Wilson and Salma Hayek can rescue this dull sci-fi fantasy from glitching all over the place, and you’d expect a double act of this calibre to be a lot more fun than it is

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SUNDANCE REVIEW: ‘Mayday’ (2021) A Spellbinding Genre Defying Treat

“Abiding by its own cinematic rules, Cinorre’s Mayday is a tonally adventurous genre-blending women-focused debut” In Karen Cinorre’s remarkable first feature, warnings of an approaching storm are the early signs that something strange is brewing. When Ana (Grace Van Patten) hides in the backroom of her workplace to cry, she is electrocuted and transported to…

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SUNDANCE REVIEW: ‘The Sparks Brothers’ (2021) is a Fantastic Celebration

Wright’s sense of humour combined with the Mael brothers’ helps the film shine and really brings out the joy in their music.

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