‘The Birds’ at 60 – Review
At 60-years-old, archetypal natural horror (creature feature) ‘The Birds’ continues to exemplify director Alfred Hitchcock’s mastery of suspense. Review by Sam Sewell-Peterson.
Read MoreAt 60-years-old, archetypal natural horror (creature feature) ‘The Birds’ continues to exemplify director Alfred Hitchcock’s mastery of suspense. Review by Sam Sewell-Peterson.
Read More‘Evil Dead’ trilogy conclusion ‘Army of Darkness’ turns 30, and it’s more ridiculous than ever before. From the mind of Sam Raimi and starring Bruce Campbell. Review by Kae M.
Read More‘Tuesday’ (2015), the debut short film from ‘Aftersun’ writer-director Charlotte Wells, “feels like a small peak through the looking glass” at the much-celebrated filmmaker’s traits. Review by Joseph Wade.
Read MoreFifteen years on from Tim Burton’s film adaptation of Stephen Sondheim’s ‘Sweeney Todd: The Demon Barber of Fleet Street’, the tale still makes for a powerful film. Review by Emily Nighman.
Read MoreAt 85-years-old, how do the outdated views of Walt Disney Animation’s debut feature film ‘Snow White and the Seven Dwarfs’ hold up? Review by Sam Sewell-Peterson.
Read MoreEven under the thumb of Disney rule and the passing of its creator, The Muppets produced a Christmas classic in ‘The Muppet Christmas Carol’ (1992). Review by Katie Doyle.
Read More‘Juno’ (2007), from writer Diablo Cody and starring Elliot Page, remains funny 15 years on, the hamburger phone and more just as iconic. Review by Martha Lane.
Read MoreWalt Disney Animation classic ‘Aladdin’ (1992) is thirty, and despite problematic representation remains a much-enjoyed Renaissance offering. Review by Sam Sewell-Peterson.
Read MoreMichael Keaton gives an iconic performance at the head of a brilliant ensemble cast in Tim Burton’s macabre Halloween movie ‘Beetlejuice’ (1988). Review by Elisabetta Pulcini.
Read MoreHideo Nakata’s iconic J-Horror ‘Ringu’ (1998) is the rare type of horror that creeps out of your screen and into your brain, promising frightening sights. Review by Emily Nighman.
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