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The Last Showgirl review – dreamy and low-key to a fault
H er voice is not the attribute for which Pamela Anderson has ever been most known, but it’s the best thing about The Last Showgirl: high and homel…
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Tornado – first-look review
A n entire decade has slipped by since the release of John Maclean’s debut feature, the frisky meta western Slow West, which, if nothing else, pres…
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Heightened Drama: Inside the operatic adaptation of Festen
“Y ou can’t have any music,” said Thomas Vinterberg in a 2015 interview about his 1998 film Festen , created using the Dogme 95 manifesto. “I inven…
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How Mouthwashing continues Alien’s condemnation of worker exploitation
Content warning: Discussion of sexual assault and suicide. W hat does it mean to be expendable? Over the pandemic, many of us learned firsthand. S…
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Mickey 17 review – gross and heartwarming in equal measure
T he way things are going, even the most speculative sci-fi feels entirely plausible – take Edward Ashton’s ‘Mickey 7’ for example, in which the ha…
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Has WWE become another cog in the Netflix machine?
T here’s a Dwayne Johnson tweet that I think about a lot. It’s from December 19th 2024, off the back of the recent release of Red One , a film he b…
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This city is our playground: A drive-by of Grand Theft Auto machinima
T he moving image – what a fraught, fraught phrase. As animation is continually slighted and short films are seen as merely proof of concept for lo…
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