Rating: 3.0★
By the early 1950s, Hollywood was, in most respects, still a man's world behind the camera. The major studios employed armies of contract directors, and women were conspicuously absent from that roster. Ida Lupino was the exception. Already a well-established actress by that point, she had turned
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Ten years ago this week, Park Chan-wook's "The Handmaiden" arrived in UK cinemas, a film that seemed almost wilfully designed to wrong-foot audiences. Here was a South Korean director, known for his stylised brutality and moral ambiguity, making what appeared on the surface to
Rating: 2.5★
Ingmar Bergman made Winter Light in 1963 as the second film in what critics and scholars have come to call his "silence of God" trilogy, sandwiched between Through a Glass Darkly (1961) and The Silence (1963). The trilogy emerged from a period of intense personal and artistic reckoning
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Pride month tends to bring out the usual suspects, doesn't it? The safe choices, the ones that have already done the festival circuit twice over and settled comfortably into the "essential viewing" category. But there's a whole other world of queer cinema out there,
Rating: 3.0★
Few films can claim to have genuinely shaped the DNA of an entire genre, but Little Caesar, released by Warner Bros. and First National Pictures in January 1931, is one of the rare cases where that claim holds up to scrutiny. It arrived at a particular moment in American cultural
Rating: 2.5★
Argentine horror has a quietly distinguished track record, even if English-speaking audiences have tended to encounter it only in fragments, a festival buzz title here, a streaming recommendation there. Films like Monos demonstrated that Latin American genre cinema can operate on its own terms, with its own rhythms and
Rating: 3.5★
Pablo Larraín has spent the better part of two decades becoming one of the most distinctive voices in world cinema, building a filmography that returns again and again to power, identity, and the kind of grief that refuses to resolve neatly. His earlier work, the so-called Pinochet trilogy (Tony
Rating: 4.0★
By the early 1930s, Universal Pictures had established itself as the home of the monster movie, and the studio was moving at quite a pace. Frankenstein had arrived in 1931, setting a template for prestige horror that mixed scientific hubris with genuine pathos, and the studio wasted little time in
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I watched a film from every country on Earth. Now it is time to find out which one wins in a head to head knockout tournament.
Rating: 3.0★
Filipino cinema has long had a comfortable relationship with the romantic drama, producing films that wear their emotions openly and tend to prioritise feeling over formal ambition. I'm Drunk, I Love You, released in 2017, sits squarely within that tradition. The premise is a familiar one: two college
Rating: 1.0★
Mermaids have had a curious relationship with horror cinema. The creature sits at a crossroads between ancient folklore and monster-movie tradition, and filmmakers have periodically tried to drag it away from the fairy-tale end of the spectrum toward something more threatening. It is a reasonable instinct. Greek mythology,
Rating: 2.5★
Twenty-two years after a modestly budgeted street-racing thriller about stolen DVD players became an unexpected box-office phenomenon, the Fast and Furious franchise has grown into one of Hollywood's most reliably profitable properties, and one of its most cheerfully ridiculous. What began as a point-to-
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