Rating: 3.5★
My son has watched plenty of things once and forgotten them by teatime. The Highway Rat was not one of them. He came out of it obsessed, quoting the thing for weeks afterward, and honestly that's about the highest praise a half-hour film for small children can
Rating: 3.5★
There's a particular kind of admiration that keeps you at arm's length. You can see the craft, feel the ambition, and acknowledge the historical weight of what you're watching, all while remaining somehow untouched by it. That's the strange, slightly frustrating place
Rating: 3.5★
There is a moment early on in Vicky Cristina Barcelona that stopped me in my tracks. Vicky and Cristina are in the back of a taxi, and the screen literally splits down the middle, placing them side by side: dark hair on one side, blonde on the other. It is
Rating: 3.5★
Picture the grim, tactical intensity of Heat colliding head-on with the sun-drenched, wave-riding vibes of Blue Crush. That is the gloriously absurd reality of Kathryn Bigelow's 1991 classic, and I mean that as the highest possible compliment. Point Break is a film that should not
Rating: 3.5★
There is a deeply unsettling genius to the way David Robert Mitchell frames a suburban street. The camera slowly, deliberately pans across wide-angle shots of empty neighbourhoods, and suddenly you find your eyes darting frantically around the screen, hunting for that next dull-eyed figure casually walking towards the
Rating: 3.5★
There is a specific, haunting beauty to the way Roger Deakins shoots a train robbery in the dead of winter. Lantern light catching frozen breath, the world rendered in blues and greys and that particular silence that only deep snow can create. That single sequence tells you everything you need
Rating: 3.5★
Sometimes you don't need much of an excuse to queue something up. I came to Dario Argento's 1970 directorial debut for two reasons: Argento himself, and Ennio Morricone. And honestly, Morricone was the more pressing of the two. I genuinely consider him the finest composer in
Rating: 3.5★
When you put Michael Caine and Harvey Keitel in the same frame, something almost alchemical happens. You don't even need to build much of a story around them. Just point the camera, get out of the way, and let two absolute powerhouses do what they've spent
Rating: 3.5★
I still have a vivid memory of standing in the school playground, clutching a plastic RoboCop action figure, completely oblivious to the razor-sharp, deeply inappropriate satire I was holding in my eight-year-old hands. That memory says everything about the strange cultural place these films occupy. They were
Rating: 3.5★
There is a very specific, giddy thrill in watching Frank Darabont's creature feature The Mist and playing "spot the future television star" before they actually became famous. If you're a fan of the first season of The Walking Dead (which, funnily enough, Darabont also
Rating: 3.5★
There is a very specific, hazy nostalgia to the airwaves of 1970s suburban America, and Sofia Coppola bottles that exact feeling perfectly in her 1999 directorial debut. From the very first frame, you are enveloped by a cracking supporting soundtrack and the melancholic, omniscient narration of Giovanni Ribisi, voicing the
Rating: 3.5★
It remains a genuine puzzle to me why Brother Bear has become one of the more forgotten corners of the Disney vault. Ask most people to rattle off their favourite films from the studio's catalogue and they'll jump straight from the Renaissance peak of the mid-
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