Thanksgiving Review: Eli Roth’s Holiday Slasher Serves Up Simple Thrills
You don’t make a movie called Thanksgiving without mentally preparing for critics to label it a turkey. I suspect that pun will be dispensed quite a lot in rev...
Alistair Ryder
BFI London Review: Quentin Dupieux’s Daaaaaali! is a Delightfully Stupid Biopic
At the time of year where every other film is a biopic chasing prestige respectability, we are lucky to have Quentin Dupieux, the prolific, serious-minded, sil...
BFI London: The Book of Clarence Struggles to Satirize the Biblical Epic
At a time when breakthrough directors can only get incorporated into the studio system via micro-managed franchise blockbusters, it certainly pays to be friend...
BFI London Review: Robin Campillo’s Red Island is an Undeveloped Portrait of a Transitional Period for Madagascar
Robin Campillo’s strengths as both a writer and a director revolve around his ability to personalize the most sprawling of ensemble pieces, never allowing view...
BFI London Review: The Hypnosis is a Toni Erdmann-Esque Cringe Comedy Skewering Corporate Culture
Toni Erdmann wasn’t the first film to skewer corporate culture, but the epic-length comedy struck a chord with many for how it used a fish-out-of-water conceit...
Remembering Every Night Review: A Soothing Cinematic Experience of Simple Pleasures
If, like me, you have a morbid fascination with the strangest conspiracies of the far right, chances are you’ve encountered protests around the concept of the ...
Amerikatsi Review: Rear Window Meets Life Is Beautiful in Stubbornly Unfashionable Crowd-Pleaser
If “Rear Window meets Life Is Beautiful” sounds like an all-timer of a cursed elevator pitch, then there’s nothing Michael A. Goorjian’s well-intentioned crowd...
Hello Dankness Review: A Tiresome Feature-Length Shitpost Remixing American Pop Culture and Politics
If the joy of art is that it can be interpreted in infinite ways over time, then is a project which “remixes” classic movie scenes by forcing them into the cur...
Our Father, The Devil Review: Restrained Drama Gives Way to Violent Genre Thriller
If there’s one sin in criticism that many writers––myself included––fall victim to at one point or another, it’s assessing a film’s narrative by comparing it t...
Carpet Cowboys Review: Finding Melancholy in the Dashed Hopes of the American Dream
The tiny city of Dalton, Georgia, has left a large footprint in the daily lives of millions who most wouldn’t have stopped for a second to consider. Well, it’s...
Alistair Ryder
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.