Refusing to place all its hopes in both state and religion as god-given arbiters of justice, season two of Evil reinvents the crime procedural by suggesting that ideas of good and bad are not given, but made, remade, and brutally scapegoated onto people.
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“In ‘The Sadness’ the fear is not—as Hitchcock might have asserted—what is unseen, but what can be endured.”
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“‘Lux Æterna’ associates the cinematic regard with the spectacle of a witch burning, gobbling up misogynistic entertainment at the expense of another’s pain.”
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“Taken either as a lazy afternoon watch or a jumping-off point for discussion, ‘Boy Meets Boy’ has it within to satisfy a gay audience hungry for better films.”
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Daniel Draper and Allan Melia explore Liverpool 8 in their latest film, using Don McCullin’s photographs as a rough guide.
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The opening does a grand job of hooking the audience in but unfortunately the rest of the film isn’t nearly as strong or coherent.
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“Alma Pöysti’s terrific performance as Tove, where her quiet affinity feels seismic, is effervescent.” Zaida Bergroth’s stunning biopic charmingly centres on artist and writer Tove Jansson’s (Alma Pöysti) bohemian life. Tove is a stylish period biography that gives a whole new perspective to the Moomins. Exuberantly visual in its charting of the artists’ life, Tove…
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In Rebel Dykes, directors Harri Shanahan and Siân Williams stitch together a patchwork of home video, cartoon animation and talking heads, in a reflection on London’s 1980s lesbian communities.
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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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Seeing the characters so inverted brings the show back to its roots, but this time viewers know both sides of the story from the start.
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