It’s rare to have a documentary focus on a single person, with decades worth of material and background feel contrastingly in-depth and shallow at the same time.
In their 1978 hit Another Girl, Another Planet, English rock band The Only Ones sing “I think I’m on another world with you/I’m on another planet with you”.
Football is the hardest of nuts to crack in terms of accepting LGBTQ+ individuals, a threat to its hyper-heterosexual culture, the mere thought of accepting them will somehow taint its obstinate macho image.
Pacific Rim: Uprising is the sequel to the original 2013 film, this time led by John Boyega, Scott Eastwood and newcomer Cailee Spaeny in the fight against the monstrous Kaiju.
Thankfully, Steven Spielberg’s latest Oscar contender is much more watchable than its unimaginative title would suggest.
The utilisation by Hollywood of classic, beloved films is something that is becoming increasingly common.
When Sony Picture Classics acquired Brigsby Bear in early 2017, the close-knit group behind the film insisted that the plot be kept a secret in the marketing.
There’s a moment halfway through Paul Thomas Anderson’s Boogie Nights when, on New Year’s Eve 1979, Scotty J.
Sally Potter’s The Party chronicles a ‘dinner-party-gone-bad’ and during its punchy 70-minute run-time capably skewers Britain’s systems of class, politics and economics.
The melancholic Yorkshire Pennines provide the dreary and rugged backdrop to an intricate migrant gay love story which is subtly underpinned by themes of repressed homosexuality, disenfranchised youth, immigration and racism.
Blade Runner 2049 was released theatrically in October 2017 to critical acclaim, with many asserting that it improved upon the story established in Ridley Scott’s 1982 original, a rare feat for any sequel, let alone a sequel released thirty-five years after the original had gained cult-classic status.
Red-head beauty and rising British star Emily Beecham, best known for her role in The Coen Brothers movie Hail, Caesar! plays the fiercely independent yet fragile Daphne, who resides in her one bed apartment in London with pet snake Scratch for company.
Writer/director S Craig Zahler made an impression with his 2015 debut Bone Tomahawk, a western featuring career-best work from Kurt Russell and Richard Jenkins.
At first glance, you might be surprised to note that Paths of Glory is a Kubrick film.
Pedro Almodóvar has a daunting 34 directorial credits on IMDb across four decades of work.
The spirit of punk runs rife through Sid and Nancy, a film that’s about as abrasive as the Sex Pistols themselves, and similarly inconsistent in quality.
At points this year it’s felt as if everything started to go wrong after David Bowie died in January: a wave of other celebrity deaths followed, while in the political sphere we suffered Donald Trump’s seemingly unstoppable rise, while the UK was splintered by the Brexit referendum.
As China’s box office prowess continues to mount, U.
Robert Altman rose to fame thanks to the success of 1970’s M.
A foreign documentary filmed within North Korea (a.
Dzigo Vertov’s Man with a Movie Camera was boldly declared the greatest documentary of all time by esteemed cine-mag Sight and Sound recently, but it’s a term that suggests a comfortable, predictable format not to be found here.