The Nordic Giants continue to bring their euphoric post-rock cinema experience to unusual locations across the UK; Jack Stocker reports back from Manchester’s Ruby Lounge.
Laced with humanity and softly tragic humour, Spike Jonze’s HER is an emotionally packed film that will tease out pensive moments, writes Jim Ross
The Coen brothers revisit some well-trodden themes in beautifully fascinating fashion, writes Jim Moore.
Steve McQueen’s third feature film is a graphic, mordant adaptation of Solomon Northup’s memoir of slavery, writes Ann Linden.
Brownlow’s beautiful and brilliant restoration of Gance’s NAPOLEON (1927) is an eye-popping spectacle, writes Amanda Randall.
It’s unsettling to watch a documentary about a group of extraordinary men, two of whom were walking toward their deaths, writes Amanda Randall.
FILTH is a superbly lurid and comedically pitch black spiral down into a man’s mental hell, with James McAvoy on perhaps his best form to date, writes Jim Ross
Lake Bell’s witty directorial debut takes aim at industry sexism without being seminar-like about it, writes Jim Ross.
ROCK THE CASBAH takes us through a number of tropes familiar to the modern war drama, but does so with skill and empathy, writes Jim Moore.
We spoke to Jonny Phillips, whose film is one of the shortest and most powerful screened at this year’s Cambridge Film Festival.
Since its 1922 release, NOSFERATU has been subject to as much mythology and folklore as the original vampire legend itself.
THE CRASH REEL is an intense, blistering ride through the world of snowboarder Kevin Pearce, writes Jack McCurdy.
If you liked DEAD MAN’S SHOES and KILL LIST, don’t miss the vivid and terrifying seadog tragedy FOR THOSE IN PERIL – screening on the 21st at CFF.
What will the titular loss entail? A death… an escape… a banishment? We strongly recommend you find out. But, if possible, don’t watch it alone.
Squirm-inducing body horror, the field recording expeditions of a pig farmer, meditations on free will, and a vague romance. Paul Milne reviews Shane Carruth’s latest.