Blood On Satan’s Claw


British Horror doesn’t get much more weird and subversive than BLOOD ON SATAN’S CLAW, according to Edd Elliott.

‘Til Madness Do Us Part

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‘TIL MADNESS DO US PART is a world of delirium but also of sensation, patiently exposed by the director, Wang Bin. Tianyi Shen reviews at EIFF.

Little Fugitive


A little-seen gem of a movie, with a captivating young lead and ground-breaking style, writes Sarah Lambert.

Of Horses And Men


ʻAll the worldʼs a stageʼ perfectly describes OF HORSES AND MEN, writes Amanda Randall: aspects of life, sex and death are played out in full view in rural Iceland.

Venus in Fur

Venus in Fur |

Roman Polanski’s latest is a slick double hander about the power of pretending and pretending to have power, write co-authors Keith Braithwaite and Ruth Muscat.

The Queen Of Spades


Thorold Dickinson tells the story of a man who has driven himself insane though his own obsession in THE QUEEN OF SPADES, the first of our “Best of British” features.

Jimmy’s Hall


Jimmy’s Hall is more than its four walls, it is the promise of education, of family, of fun… Hannah Clarkson reviews Loach’s latest.

The Two Faces of January


THE TWO FACES OF JANUARY screened recently at Manchester’s Cornerhouse, followed by a Q&A with Viggo Mortensen and Hossein Amini. Jack Stocker reviews.

Fading Gigolo


A wry look at the world of male prostitution, with a star turn by Woody Allen, writes Sarah Lambert.

Godzilla (2014)

Godzilla |

GODZILLA is back: Gareth Edwards’ revival of the legendary beast is chock full of awe, but the human drama is sadly lacking, writes Gavin Midgley.

The Wind Rises

The Wind Rises |

Hayao Miyazaki’s final film is an ode to the power of dreams that charms from beginning to end, writes Gavin Midgley.

Blue Ruin

Blue Ruin |

Jeremy Saulnier’s tense and twitchy revenge drama offers plenty of suspense and a strong central performance from Macon Blair, writes Gavin Midgley.


Calvary |

John Michael McDonagh’s black comedy drama reveals a 21st century Ireland unmoored from the old certainties of the past, writes Jim Moore.


Locke |

Tom Hardy drives to Hell in Steven Knight’s economical and compelling one-man drama, writes Gavin Midgley.

The Double


Richard Ayoade’s THE DOUBLE is one of the most dull, yet unutterably infatuating films Jack McCurdy has watched in a long time.