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The quiet intensity of Lee Kang Sheng’s gaze
O ur first glimpse of Lee Kang Sheng in Tsai Ming Liang’s Rebels of the Neon God (1992) features the young man seated at a desk. His back is turne…
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Thunderbolts* review – the best Marvel film in a while
F lorence Pugh has become the face of millennial angst, from the tear-inducing cancer journey of We Live in Time , to the ugly-crying murder chaos …
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Psychlo killer: Battlefield Earth 25 years on
T TSB, or Things That Shouldn’t Be, is Scientology’s term for when you tell a higher-up ‘I’ve got a bad feeling about this’. It’s not quite an “eth…
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Until Dawn review – an insulting parade of tedium
T he video game film adaptation has been undergoing a transformation in form in recent years. It used to be that a video game movie would simply ta…
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Pretend it’s a video game: How films emulate gaming mechanics
D avid F. Sandberg’s new horror film Until Dawn is based on the 2015 video game of the same name, which has caused some confusion or even constern…
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The Accountant 2 review – tonally wild and uneven but oddly sweet
W hen it released in 2016, Gavin O’Connor’s The Accountant was an unexpected hit for Warner Bros, making a slick $155 million return on a $44 mil…
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Julie Keeps Quiet review – a slick, steely piece of storytelling
T his is a #MeToo film that’s entirely focused on the experience of the victims, spending little-to-no time worrying about whether the perpetrator …
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