The Harder They Come

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The 2006 remastered version of THE HARDER THEY COME is an inspired fusion of exploitation film, neorealist drama and musical, writes Jim Moore.


Take One On Air 8/9/15

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Ben Dalton, Edd Elliott and Lillie Davidson talk DARKNESS ON THE EDGE OF TOWN, WHY ME?, THE CHAMBERMAID LYNN and foot fetishes.


Roar

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Having seriously injured almost all of its cast and crew, ROAR will appeal to lovers of B-movie car-crash cinema


Sweethearts Of The Gridiron

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Lots of smiles and enthusiasm, but Edd Elliot isn’t totally sold on SWEETHEARTS OF THE GRIDIRON.


Street Kids United II: The Girls from Rio

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STREET KIDS UNITED 2 inspires with the sporting passion of its protagonists whilst retaining its political impact.


Short Fusion: Motion

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“Adrenaline pumping with a side of swoon”… “Visually offensive, yet spectacular”… Jack McCurdy reviews the MOTION strand of CFF’s Short Fusion


The Magical Girl

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Anime, revenge and sadomasochism come together to form a tangled web in Carlos Vermut’s second feature-length thriller.


Take One On Air 7/9/15

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Ben Dalton, Edd Elliott and Mark Liversidge review ME AND EARL AND THE DYING GIRL, THE LESSON and egg-static POACHED


Short Fusion: Space & Oddity

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Katrina Smith reviews a collection of Sci Fi themed shorts that exhibit varying visions of bleak futures, and alternative presents.


Land Grabbing

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A documentary on large-scale farming practices that emotionally engages the more it strives to remain objective.


THE HALLOW

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Ireland-set horror that gives into conventional shocks after a remarkable, unsettling first half-hour.


The New Rijksmuseum

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This documentary about the troubled redesign of Amsterdam’s Rijksmuseum is as much about local politics and bureaucracy as it is about the museum’s masterpieces.


As We Were Dreaming

Joel Basmann / Merlin Rose

AS WE WERE DREAMING maybe be generic, but it has enough fun and firepower to entertain most, writes Jim Moore.


Waste Land

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WASTE LAND is the final part of Pieter Van Hees’s trilogy ANATOMY OF LOVE AND PAIN.


Von Caligari Zu Hitler

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What does cinema know that we don’t?