The Card Counter – Review Tom Bond November 5, 2021 Reviews This film was previously reviewed in September 2021 as part of our coverage for Venice Film Festival. The Card Counter marks a highly anticipated return for Paul Schrader, after his career-best First...
Dune – Review Anahit Behrooz October 21, 2021 Reviews This film was previously reviewed in September 2021 as part of our Venice Film Festival coverage. Much has been made of Denis Villeneuve’s crusade for the physical institution of cinema but one thing is...
Triple Frontier – Review Carmen Paddock March 17, 2019 Reviews After an extraordinarily troubled pre-production and subsequent Netflix distribution, Triple Frontier may have been best left in the drawer. The action thriller follows five ex-special forces friends who...
Life Itself – Review Rhys Handley January 4, 2019 Reviews This review was originally published as part of our London Film Festival coverage on 15/10/2018. You know the dude in Starbucks, the one with the thick-rimmed glasses, chequered shirt and a macchiato...
Life Itself – LFF 2018 review Rhys Handley October 15, 2018 Reviews You know the dude in Starbucks, the one with the thick-rimmed glasses, chequered shirt and a macchiato who’s forever working on his screenplay? Well, Life Itself is that very screenplay, and somehow it’s...
At Eternity’s Gate – Review Jack Blackwell September 3, 2018 Reviews This review was published as part of our Venice film festival coverage on 03/09/2018. With At Eternity’s Gate coming out less than a year after Loving Vincent, the life of Vincent van Gogh seems like...
Suburbicon – Venice 2017 Review Jack Blackwell September 3, 2017 Reviews With mystery films, it’s often said that trailers should be avoided, and that going in blind is the best way to watch them. Suburbicon is an exception to this rule, as the final product bears very little...
Scene Stealers: Adam Driver in Inside Llewyn Davis Carmen Paddock August 23, 2017 Features, Scene Stealers At first glance, the Coen brothers’ Inside Llewyn Davis is not explicitly a feel-good film. The titular antihero – a down-on-his-luck folk musician in 1960s New York – is bitter about his circumstances...
Your Week In Film: Batman, BAFTA, Biopics! Stephen O'Nion February 17, 2017 News 1. The BAFTAs happened February 12 saw the 70th British Academy Film Awards take place at the Royal Albert Hall. As is the custom, seats were sat in, drinks were drunk and awards were awarded. Annoyingly...
Interview: Bryan Singer Talks About The Apocalypse David Brake May 18, 2016 Behind The Curtain, Features, Interview In X-Men: Apocalypse, we find our favourite group of mutants in 1983, dealing with more than just the fashions of the time. An ancient, powerful and extremely angry creature named Apocalypse has awakened after...
X-Men: Apocalypse – Review Tom Bond May 17, 2016 Reviews Singer jumps at this second chance to establish the characters he first brought to the screen 16 years ago, unleashing new powers and revisiting old stories with typical invention. This is when he and the film...
ORWAV Oscars 2016 – The Results Tom Bond February 29, 2016 Analysis, Features, One Off It's the moment every film fan has been waiting for...the results of the ORWAV Oscars! Will our shock front-runner Ex Machina sweep the board? Will Leo pick up his first ORWAV Oscar to sit on his mantelpiece...
Top 20 Films of 2015: 7. Ex Machina Patrick Taylor December 25, 2015 Analysis, Features, Top 10 “What happens to me if I fail your test?” What indeed. The year’s most interesting film? You’d be hard pressed to find a rival with the same scientific clout as this, Alex Garland’s directorial...
Ex Machina – Review Danielle Davenport January 24, 2015 Reviews 4 Comments Alex Garland is in confident control from Ex Machina’s boldly brisk beginning to perfectly-pitched end. Carefully composed shots, swift cuts and succinct dialogue bestow the tumultuous pace and visual...
A Most Violent Year – Review Tom Bond January 14, 2015 Reviews A quickening tension squeezes every frame of A Most Violent Year, tautened by Alex Ebert’s needling score. Chandor directs with a vice-like grip and, with DoP Bradford Young, frames the broken silhouettes...