
Untitled: Who is the Author of a Dead Man’s Film?
Countless artworks will never reach our senses, given up on, unreleased or unfinished in the creator’s time. Once discovered should we...

We Already Know What We're Watching: Expectation and Cinema
When is the last time you watched a film without any expectation? You’d never heard the title, knew nothing of who was in it or made it,...

Can the Cinema be a Safe-Space for Discrimination? Three Billboards Outside Ebbing, Missouri
Living in the 21st century, we are very used to satirical humour playing on a line between political correctness and offensive. Satire by...

Ichi the Killer: Expectation via Reputation
Takashi Miike controls us in exactly the way Kakihara controls his victims throughout their brutal torture and slaughter. We are...

Yi yi: A One and a Two: Long Periods with Characters
Thirty minutes in and I find myself slightly alienated by Yi yi—not sure whether it was simply my mood, the film’s opening or the...

The Housemaid (1960/2010): The right to be called a remake.
Comparing Kim Kiyoung and Im Sangsoo’s films of the same title is no easy feat, even though many sources will tell you that Im’s film is...

Darkest Hour: What’s in a Face?
Winston Churchill holds an iconic visage immediately recognisable to any and all Brits, regardless of generation. Thus it is...

Stoker: Reinventing the ‘Mistake’
Fragmented images linger in the corners of frames, characters are framed with vast headroom, inserts of fractions of seconds only showing...

Will the Rise of Netflix Benefit the Art House Market?
Spending this year abroad and the last two years in little Southampton I have found it extremely difficult to find cinema venues that...

Murder on the Orient Express: Classics, Stars and leaving the audience out of the mystery.
As I had a number of hours to kill before my night-bus from Tokyo to Kyoto I decided to give Murder on the Orient Express a...

Tati's Monsieur Hulot - A Malfunctioning Man(?)
French legend Jacques Tati both saw success and failure from his ingenious concoction of Monsieur Hulot that eventually completely...

The Importance of Restriction: The Seeds of Violence
The Seeds of Violence’s (2017) primary achievement is it’s phenomenal devotion to its style. It utilises an extreme form of cinematic...

Mother!: To See but Never Touch
Darren Aronofsky’s latest film continues in the footsteps of much of his career whereby he takes a select set of emotions and introduces...

Rethinking the Rating System
What information do we really get from a rating system, be it out of five, ten or one hundred? To many it’s simply a measure of whether...















