In cinema one of the most engaging of elements is a filmmakers ability to provoke, to entice conversation, and have several likeminded people find themselves miles apart in their own interpretation of art, how we can all watch the same thing and yet each seem to watch something so different to the next. In that regard, Darren Aronofsky’s mother! is an astounding triumph, as a feature we can…
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There is a torturous, biting audio that surrounds Yorgos Lanthimos latest surreal picture, The Killing of a Sacred Deer. It drones on from scene to scene, sometimes leaving completely, but lurking alongside the visual, ready to add that piercing sonic climax.

We follow cardiologist Steven Murphy (Colin Farrell in full black comedy form, wearing a survivalist beard) as he navigates life or…
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It’s a shame to see such a wonderful story and cast not done justice too, as a film just lacking in that playful edge, too pedestrian in its execution
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When Edge of Tomorrow came out a few years ago, everybody wrote it off as a Groundhog Day knockoff with explosions. Against all the odds, though, Doug Liman’s film managed to be clever, funny, and fresh despite its familiar premise. The same can be said about Happy Death Day.
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In cinema one of the most engaging of elements is a filmmakers ability to provoke, to entice conversation, and have several likeminded people find themselves miles apart in their own interpretation of art, how we can all watch the same thing and yet each seem to watch something so different to the next. In that regard, Darren Aronofsky’s mother! is an astounding triumph, as a feature we can…
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Seeing the names Joel and Ethan Coen attached to a film is an instant cause for excitement — place George Clooney in the director’s chair and you’d be lying to yourself if Suburbicon weren’t high on your list this festival season. Clooney behind the camera is comfortable and clean cut, perhaps too subdued for a script that unfolds in an explosive, messy display of tonal confusion and…
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