Country United Kingdom
I try to find something to hold onto in everything I watch, some spark of intention or craft even when a film is not working, but Sacha Beeley's Babyface defeated me. It is a six-minute animated short that I found close to unwatchable, an amateurish, charmless little
Rating: 1.0★
Every so often a film comes along so brazen in its theft that you almost admire the nerve. Mac and Me is one of them: an E.T. knockoff so shameless it makes you wonder how it was ever allowed to reach a cinema. Stewart Raffill's 1988 "
Rating: 1.0★
By now, with a fair few of these under my belt, I've made my peace with the fact that arthouse and I are rarely going to see eye to eye. But even by my own standards, La Libertad tested the limits of that peace. This is arthouse in
Rating: 1.0★
A film called Five Dedicated to Ozu invites you, right there in the title, to think of one of cinema's great masters of stillness and quiet contemplation. It is a bold invocation. It is also, I'm sorry to say, one this film has absolutely no business
Rating: 1.0★
There is a genuinely haunting idea at the centre of Decasia: The State of Decay, and I want to be fair to it before I explain why the film itself was one of the most punishing viewing experiences I have put myself through in recent memory. Bill Morrison builds the
Rating: 1.0★
On paper, a silent, hour-long film about the life cycle of a container ship, built, sailed and eventually scrapped, sounds like a hard sell. And, well, it is. Peter Hutton's At Sea follows a freighter from construction to dismantling in long, static, wordless shots. I will admit
Rating: 1.0★
A film named after a theorem in set theory ought, you would think, to have something clever up its sleeve. It ought to justify that title with ideas that crackle, that reward patience, that make the brain do something interesting. Zorns Lemma, Hollis Frampton's 1970 structuralist experiment, does
Rating: 1.0★
Meir Zarchi's 1978 exploitation picture made me feel genuinely, physically ill. Not in the way a properly crafted horror film leaves you shaken and unsettled, but in the way you feel after accidentally stepping in something vile on a dark pavement. I've sat through some bleak,
Rating: 1.0★
I'll be straight with you: avant-garde cinema and I have never really got on. It's not a prejudice I'm particularly proud of, but it's an honest one. So when I sat down with Robert Breer's 2003 experimental short What
Rating: 1.0★
Let me be upfront: I subjected myself to Mothlight as part of my ongoing challenge to complete every list on Letterboxd's stats page. Not exactly the most romantic way to encounter a piece of avant-garde history, but there you go. And having now sat through Stan Brakhage&
Rating: 1.0★
There's a version of this review where I open with genuine respect for the avant-garde tradition, tip my hat to the academics, and ease you gently into my reservations. But honestly? Twenty minutes of a bloke cutting up someone else's footage and slowing it down
Rating: 1.0★
Let me be completely straight with you: if you've already sat through Paradise Z, also released under the title Two of Us, then you have already seen Dead Earth. Every single frame of it. This is not a reimagining, not a director's cut, not a fresh
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