Most men think about the Roman Empire several times a week, if a recent meme is to be believed. With Gladiator II, Ridley Scott brings the era back to life in ...
It’s hard to overstate just how ubiquitous the Paddington films––particularly the 2017 sequel––have been in the British cultural consciousness over the last de...
Jane Schoenbrun didn’t invent movies exploring teenage malaise and identity through the lens of pop culture, but in the opening moments of Caroline Poggi and J...
Many films have dared to ask if a man and a woman can ever just be friends, but very few have managed to answer in the affirmative. For most of its first half,...
Steve McQueen has long been upfront about his desire to make a musical; before Widows underwhelmed at the box office, it appeared likely that a passion project...
Killers of the Flower Moon's epilogue felt like the last word on true crime: a director with several based-on-a-true-story tales to his name emerging from behi...
There’s no description of Levan Akin’s Crossing that won’t make it sound like the kind of feel-good dramedy which would have taken Sundance by storm in 2006. I...
When Lee Isaac Chung was announced as director of a legacy sequel to Twister, many were quick to bemoan the fact that we’re stuck in an age where helming a Bes...
If knives weren’t already being sharpened for Ti West prior to MaXXXine––the third installment in his X series of exploitation throwbacks––they likely will be ...
A directorial debut programmed into the main Cannes competition is typically viewed with suspicion, if not overlooked altogether. Very rare is that lightning-i...
Alistair is a freelance film and culture writer from Northern England, who has written for the BFI, Vice, GQ, and more. You can find him on Twitter @YesItsAlistair, although if you are allergic to bad puns, maybe think twice before smashing that follow button.
