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...
The recent Planet of the Apes prequel trilogy fizzled out by its third installment, as any form of social allegory it carried over from the original franchise ...
To paraphrase former White House Chief of Staff Tom Card, whispering in the ear of George W. Bush: a second Cronenberg offspring has made a movie. Whereas her ...
Bohemian Rhapsody should have been the final nail in the music-biopic coffin––instead, its near-billion box-office gross ensured it became Hollywood’s go-to te...
It’s a genuine miracle that The People’s Joker has managed to make it to screens unscathed, especially considering the legal battles which dogged the 2023 TIFF...
It wouldn’t take much to convince an unsuspecting audience member that Mothers’ Instinct is the latest dispatch from the Don’t Worry Darling cinematic universe...
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.
