Although the remake of PUSHER is a striking visual contrast to the original, nothing on the scale of Winding Refn’s trilogy is ever wholly achieved, writes Joe De-Vine.
Although amiable and lively, SPIKE ISLAND’s evocation of a bygone era resembles music videos at their most flashy and uninvolving, writes Ed Frost at London Film Festival.
Despite its aesthetic qualities and an incredibly honed auteurist signature, Xavier Dolan’s LAURENCE ANYWAYS fails to deliver a worthwhile conclusion , writes Ed Frost at London Film Festival.
SISTER is a straightforward and tender film that depicts a simple tale of survival, and the bonds that tie its protagonists together, writes Ed Frost at the BFI London Film Fest.
Anthony Davis spoke to BFI curator William Fowler, who presented a collection of films by the British artist and eccentric, Bruce Lacey, at the Cambridge Film Festival this year.
Masaaki Akahori’s debut film brings a novel approach to the samurai subgenre, playing out the story of good versus evil a peculiar and introspective level, writes Ed Frost at the BFI London Film Festival.
Rodney Ascher’s ROOM 237 is a lively documentary that gives voice to a variety of remarkable theories that call into question Kubrick’s intentions with THE SHINING, writes Ed Frost at London Film Festival.
With THE HUNT, Thomas Vinterberg has created a masterful film full of emotional nuance and heartbreaking tension, writes Ed Frost at the London Film Festival.
ROBOT AND FRANK is a dutiful shot in the arm to science fiction, calmly addressing a range of prescient topics without flashy aesthetics, writes Ed Frost at the London Film Festival.
The BFI London Film Festival kicks off today, Ed Frost takes a short look at what is in store until October 21st. Check in with TAKE ONE for reviews of films screening at the festival.