Rating: 3.5★
Godzilla has been stomping through Japanese cinema since 1954, when Ishiro Honda's original Gojira gave the world its most enduring monster metaphor. Born from the anxieties of a nation that had survived atomic devastation, the character has since accumulated thirty-odd official entries across Japanese and American productions,
Rating: 4.0★
There is a particular kind of short film that does not announce itself loudly, does not rely on spectacle or plot machinery, and simply asks you to sit with a feeling for a few minutes. Father and Daughter, made in 2000 by Dutch-British animator Michael Dudok de Wit, is
Rating: 3.5★
Folk horror has always had a particular relationship with isolation, the kind that isn't about darkness or closed spaces but about being the outsider in a community that has its own rules, its own calendar, and its own understanding of what is owed to the land. That tradition
Rating: 3.5★
There are films that feel like they arrive from a particular place and moment so completely that watching them is almost anthropological, and Time of the Gypsies is very much one of those films. Released in 1988 and co-produced across Yugoslavia, Italy, and the United Kingdom, it arrived at
Rating: 3.0★
Vanuatu, the Pacific island nation spread across more than eighty individual islands, has long occupied a curious space in the anthropological imagination. Its history of colonialism (it was jointly administered by Britain and France under the peculiar arrangement known as the New Hebrides Condominium until independence in 1980) left behind
Rating: 2.5★
Desmond T. Doss was a Seventh-day Adventist from Lynchburg, Virginia, who served as a combat medic with the 77th Infantry Division during the Second World War. He refused on religious grounds to carry a weapon, endured sustained harassment from fellow soldiers and the military establishment alike, and then, during
Rating: 2.5★
By the mid-1990s, Disney's theatrical animation division was riding one of the most celebrated winning streaks in the studio's history. The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King had redefined what audiences expected from a Disney release: sweeping scores, polished visuals,
Rating: 1.5★
The monster-horror genre has always had a complicated relationship with imitation. One film cracks open a fresh idea, audiences respond warmly, and within eighteen months the streaming platforms are loaded with films that smell very much like the original but have somehow lost everything that made it interesting. Released
Rating: 3.5★
Before Terrence Malick became synonymous with whispered voiceover and golden-hour cinematography stretched across two-and-a-half hours, he made Badlands: a lean, sun-scorched debut that announced, with some confidence, that a genuinely unusual filmmaking voice had arrived. The film draws its bones from the real-life murder
Rating: 3.5★
Swaziland (now officially Eswatini) sits landlocked between South Africa and Mozambique, and by the mid-2010s the country was carrying one of the highest HIV/AIDS prevalence rates in the world. The humanitarian consequences of that crisis produced a generation of orphaned children whose stories rarely made it beyond the
Rating: 3.5★
There are films that wear their cultural heritage lightly, sprinkling in a few local details for colour before defaulting to familiar genre shapes. And then there is Yeelen. Released in 1987 and rooted in the oral traditions and spiritual cosmology of the Bambara people of Mali, Souleymane Cissé's
Rating: 3.0★
Every now and then a documentary arrives that makes you wonder how nobody thought to make it sooner. The Golden Spurtle (2025) trains its camera on Carrbridge, a small Highland village in the Cairngorms, which has hosted the World Porridge Making Championship since 1994. The competition is as straightforward and
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