Ana Lily Amirpour’s A GIRL WALKS HOME ALONE AT NIGHT is a trope up-ended, with results at once gleeful and grisly, writes Ann Linden.
A warmly affectionate comic take on the horror genre, THE DAY OF THE BEAST launched Álex de la Iglesia’s career on the international stage.
David Michôd brings a new dimension to a dystopic genre that has had so much exploration already – think post-apocalyptic OF MICE AND MEN, says Jack McCurdy.
If you stick with NORTE, you will be rewarded by a rich cinematic experience; and one certainly worth the investment of 250 minutes of your time, writes Mike O’Brien.
In June 2012, Gruff Rhys of popular combo Super Furry Animals announced his second investigative concert tour of the Americas. His previous tour was the subject of SEPARADO!, in which Gruff searched South America for his long-lost uncle Rene. AMERICAN INTERIOR climbs further up the family tree and out onto its flimsiest branches, in a [...]
If you enjoyed A STORY OF CHILDREN AND FILM please take the chance to meet one of the greatest icons of Iranian cinema!
UNDER THE SKIN is a curious, disquieting and perplexingly superb piece of guerilla surrealism, writes Jim Ross.
THE GRAND BUDAPEST HOTEL is a delightful chocolate box of a film, with Wes Anderson beginning to show his artistic soul, writes Jim Ross
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