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The Lost Boys may well be Joel Schumacher’s quintessential film in terms of how beautifully and elegantly it adumbrates the core question of his career: how do we preserve [...]

Many of John le Carré’s 90s novels grappled with the waning of the Cold War but The Tailor of Panama, published in 1996, was perhaps the first to truly inhabit a post-Cold [...]

Whereas I Saw The TV Glow channeled trans dysphoria through the language of 90s pop culture, Jane Schoenbrun’s third film reaches back to the 80s to capture something like [...]

Office Killer, Cindy Sherman’s only feature film, was clearly a genuine stab at a Hollywood career, and not just a curiosity to be displayed in art galleries. Produced by [...]

Curry Barker’s Obsession is a reworking of Fatal Attraction for the era of toxic codependency – and watching it in a full cinema, I could imagine how it must have felt to [...]

Andre Øvredal has a real knack for highly contained horror premises – chamber dramas that never feel like filmed theatre. Both The Autopsy of Jane Doe and The Last Voyage [...]

Based on the 1895 novel by Benito Perez Galdos and often considered one of the greatest films in Luis Buñuel’s Mexican period, Nazarin invests the picaresque wandering of [...]

At close to three hours, Otto Preminger’s Anatomy of a Murder is – or aspires to be – a work of comprehensive procedural realism, standing in relation to trial protocol [...]

Like so many films in the New French Extremity, Alexandre Aja’s High Tension is a home invasion drama, inflected in this case through the hick horror of The Texas Chainsaw [...]

Bart Layton’s Crime 101 is a loving pastiche to Michael Mann’s vision of Los Angeles, and to Heat in particular, revolving around a literal highway robber, Chris [...]