Reviews

Takeshi Kitano's films work so well not just because he's so good at balancing levity with sincerity, but because the way he balances them is so wonderfully subversive, always managing to find new ways to escape whatever expectations you might have of him or the genre

Caught by the Tides is like nothing you’ve seen. On paper, there’s similarity, after all it is a yearning love story told over a long period of time. This kind of story, of the arc of a relationship positioned over a backdrop of social change, is hardly original.

Brady Corbet's film is an immense work documenting an immense work, taking on the form of its subject as a formalist monolith, a slab of grim reality that renders the weight of its expression.

Ooh, majestic! The nightmare swirls and churns unending! A line once uttered by the crazed Micolash in FromSoft's masterpiece Bloodborne, but one fitting the cosmic gothic prison of Robert Eggers' Nosferatu, an all consuming Eldritch terror that combines a rapidly decaying psychosexual madness with arresting imagery and

If there’s one thing that Todd Phillips’ Joker: Folie à Deux has going for it, it’s that it absolutely despises Joker fans. On its face, it’s pretty respectable to design a sequel with the express purpose of upsetting every incel who took the first movie as some

Like its titular character, Ridley Scott’s 1979 masterpiece Alien is a perfect organism. Horror at its most efficient and effective, stripped of all pretense and constructed with terrifying elegance. The score pulsates and echoes, the hulking industrial mass of the USCSS Nostromo creaks and groans, the dusty analog computers