Paola Cortellesi’s directorial debut ‘C’è Ancora Domani’ reimagines ideas of Italian Neorealism to tell of contemporary struggles through a historical lens. Essay by Jenson Davenport.
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Introducing the Sour Sweetheart, a new film character archetype to add to the ranks of the Femme Fatale and the Final Girl. She’s got a diary and a gun. Essay by Jessica Grassano.
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‘The Devil’s Bath’, from writer-director duo Severin Fiala and Veronika Franz, is more a psychological study than a straight horror, a beautifully haunting warning. Review by Lauren Frison.
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Osgood Perkins horror ‘Longlegs’, starring Nicolas Cage in a terrifying role, crafts an experience that lingers in the shadows of the mind. Review by Jake Fittipaldi.
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Stanley Kubrick’s final film, ‘Eyes Wide Shut’, isn’t about sex. It’s about Christmas. Of all the Christmas movies, it may be the most cynical. Essay by Declan O’Reilly.
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The latest movie from provocative filmmaker Takashi Miike, ‘Lumberjack the Monster’ (2023), seems lacking the shock factor necessary to gain attention. Review by Lauren Frison.
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The iconic female protagonist steals the show in ‘True Romance’ (1993), the movie about two lovers on the run written by Quentin Tarantino and directed by Tony Scott. Review by Gala Woolley.
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Tragedy seems to be a genre which no longer holds much weight in cinema. Why is this? Ceridwen Millington outlines in this cinephilic essay.
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‘Tarzan’ (1999) arrived into cinemas at the peak of Disney Animation’s powers, and presented a nuanced and creative take powered by a reputable Phil Collins soundtrack. Review by Rehana Nurmahi.
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The world's 2nd largest cinema chain, Cineworld, have announced that