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.
Among the celebrated pantheon of British director David Lean’s body of work, The Sound Barrier is oft-forgotten.
There’s clearly a strong story to tell in the life of experimental psychologist Stanley Milgram, but despite an able cast and some welcome stylistic flourishes, Experimenter never quite gets its results.
It’s hard to overstate the influence of Jean-Luc Godard on the cinema that came after him – especially immediately following the death of his Cahiers du Cinéma and French New Wave contemporary Jacques Rivette.
Deep Red (or Profondo Rosso, to use its infinitely more ominous Italian title) is rightly regarded as one of the seminal works of Italian giallo maestro Dario Argento – still best known for Suspiria – and one of horror’s pivotal works.