Roles in Retrospect #5 – Hailee Steinfeld and ‘Begin Again’ (2013)

In this month’s Roles in Retrospect, we take a look at how Hailee Steinfeld charmed audiences as an angsty and musically talented teen for the first time in 2013’s ‘Begin Again’.

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BFI FLARE REVIEW: ‘The End Of Wonderland’ (2021) is a Thoughtful And Complex Look at a Trans Sex Worker’s Life

An imperfect but thoughtful look at a the many facets of a trans sex worker’s life.

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REVIEW: ‘Hellbender’ (2021) Bends a Small Budget Into Unique Folk Horror

“In a genre that is built on itself, taking tropes and concepts from other films to create something entirely new, ‘Hellbender’ doesn’t feel like many other horror movies made before.”

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REVIEW: ‘Belle’ (2021) Has Big Ideas, But A Frustratingly Messy Execution

‘Belle’ is an ambitious work by famous anime director Mamoru Hosoda, but it fails to have a coherent vision.

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Roles in Retrospect #4: IWD 2022 – Maxine Peake and ‘Gwen’ (2018) and Kirsten Dunst and ‘Melancholia’ (2011)

In this special International Women’s Day edition of Roles in Retrospect, two of our staff writers reflect on the actresses’ past performances that are memorable to them.

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‘Spider-Man: No Way Home’ (2021) and ‘Scream’ (2022): Fan Service That Matters

Fan service could have been the detriment of both ‘Spider-Man: No Way Home’ (2021) and ‘Scream’ (2022) but ends up being an advantage.

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INTERVIEW: Avalon Fast Talks Her Buzzworthy Debut ‘Honeycomb’ (2022)

Our editor-in-chief Hayley Paskevich talks to young filmmaker Avalon Fast about everything from the many different hats she wore during production, to bees and girl cults.

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REVIEW: ‘Found Family’ (2021) is a Sweet Addition to the Lesbian Bildungsroman

“‘Found Family’ (2021) is a sweet addition to the lesbian bildungsroman in film.”

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REVIEW: ‘Munich: The Edge of War’ (2021) Badly Fumbles A Fresh Look At A Familiar Past

‘Munich: The Edge of War’ is a fresh take on a familiar bit of history, but one that fails to thrill or enlighten.

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The Real Horror in ‘The Witch’ (2015) is Generational Trauma

“Through her slow embodiment of the “Witch,” something unfathomable to the very foundation of her familial structure, Thomasin frees herself from the weight of the same trauma that crushes everyone she loves.”

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