In the twenty-first century we’ve become acclimatised to films that draw on the terrifying iconography of the September 11 attacks, but there was also a wave of films, in [...]

Alice Doesn’t Live Here Anymore was perhaps the most pivotal of all of Martin Scorsese’s classic films – a concise consolidation of everywhere he’d come from, and a [...]

During the 70s and early 80s, radio was a common period effect in American cinema. Directors frequently used radio to anchor the Depression-era dramas that proliferated [...]

Although Danny Boyle directed A Life Less Ordinary in the interim, The Beach is the true spiritual sequel to Trainspotting, which ended with Ewan McGregor’s character [...]

Clea DuVall’s Christmas film Happiest Season is one of the most beautiful and tonally complex queer films I’ve seen in a long time – so complex that it forces you to [...]

Claustrophobic thrillers reached their zenith during the 1990s, reflecting the last great self-contained cinematic spaces but also the possibility of a new viewing experience [...]

Eliza Hittman’s latest film is an austere character study of Autumn, a Pennsylvania teenager played by Sidney Flanigan, who travels to New York with her cousin Skylar, [...]

Along with the horror film Host, Nancy Meyers’ sort-of sequel to the two Father of the Bride movies is the very best thing to be shot in lockdown. As the title [...]

One of the more underrated horror films of 2020, You Should Have Left is David Koepp’s spiritual sequel to Stir of Echoes, and once again stars Kevin Bacon as a family man [...]

The Lodge unfolds as an exhaustion of two tropes that have come to define films about disenfranchised whiteness over the last few years – vast wintry landscapes, and a [...]