There’s no scarcity of documentaries on climate change; at the most recent Cannes Film Festival there was even a new program strand entitled “Cinema for the Cl...
Listen closely while watching Finch and you can almost hear a studio exec's elevator pitch. It’s certainly apparent in every single frame of the film, almost t...
More often than not, one-take films struggle to justify their gimmick. Whether shot in one go or utilizing an intensive editing process to appear like so, the ...
Perhaps the biggest cultural difference between the U.K. and U.S. is the way success is viewed. While America tends to celebrate those who make it, British cul...
For fledgling animation studios, the first impression is always the most important. Pixar managed to cement their brand of heartfelt, pop culture-inflected sto...
When George Clooney jumped to directing he claimed to be motivated by the kinds of movies Hollywood doesn’t make anymore—screwball comedies, sober political th...
Few films announce their mission statement within their opening frames to quite the extent of The Harder They Fall. An introductory title card informs the audi...
Anybody who thinks writers who use subtext are cowards will find plenty to admire in The Divide. Taking place over the course of one night, Catherine Corsini's...
Big-screen depictions of mental health often lose nuance in favor of exaggerated tropes, inaccurately representing many experiences living with specific condit...
The Innocents, the assured sophomore feature from Eskil Vogt, is a prickly film about childhood morality designed to get under its audience’s skin. It quickly ...
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.
