Just as Pulp Fiction triggered a wave of inferior gangster flicks with a penchant for witty, fast-paced dialogue and Get Out paved the way for several socially...
When it was first announced Warner Bros. was in the early stages of developing a Charlie and the Chocolate Factory prequel about Willy Wonka’s rise to fame and...
Director Noora Niasari’s debut Shayda––and Australia’s submission for Best International Feature at next year’s Oscars––is quite literally a lifetime in the ma...
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...
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...
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...
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...
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...
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 ...
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...
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.
