Despite obvious budgetary limitations, this affectionate spoof has enough energy and wit to appeal to its core audience of horror junkies, writes Gavin Midgley.
Pere Portabella has fashioned a film which may not simply be dismissed as experimental: WARSAW BRIDGE has a confidence and an easy visual style that belies the obscurity its content, writes Christopher Stefanowicz.
DANGER MOUSE is a relic of a time when the UK had only three national television channels, of a time when there wasn’t a lot of money around (unless you were Baron Silas Greenback). Keith Braithwaite reviews and contextualises the Cosgrove Hall favourite.
WAR WITCH: a truly remarkable film on many levels, showing in raw detail the destruction of war upon the human spirit. Mike Boyd reviews at the Cambridge Film Festival.
Although Jobs is a fascinating subject, THE LOST INTERVIEW is very tech-heavy in content and not for the casual film fan, writes Liam Jack.
Sadistic and painful, seductive and playful: SANTA SANGRE is an eye-popping visual adventure that proves how imaginative cinema can be, writes H. Chan.
With a cleverly woven plot and authentic performances, particularly from the mesmerising Alina Levshin, COMBAT GIRLS is incredibly watchable, even though the drama occasionally resorts to cliché, writes Lillie Davidson.
Sarah Longfield reviews SPRITES 11, a collection of 18 short films, pop videos and animations hand-picked by digital arts organisation onedotzero, showing as part of the Family Film Festival.