Family annihilators, or familicide perpetrators, are one of the last frontiers of true crime literature and television. Their motivations are often obtuse, they frequently [...]

No film captures celebrity allure as it stood in the 1990s, at the end of the first cinematic century, quite like Notting Hill. For one thing, this was arguably the pinnacle [...]

The enjoyably – extravagantly – titled Eurovision Song Contest: The Story of Fire Saga is just what I needed during the pandemic, and a rarity in contemporary cinema – [...]

No social media experience has ever felt quite so exciting to me as the earliest days of email. Before email, the internet felt like a largely arcane sidebar in my everyday [...]

Although You’ve Got Mail has arguably become more iconic, Sleepless in Seattle, Nora Ephron’s previous collaboration with Tom Hanks and Meg Ryan, felt even more [...]

Ryan Murphy’s reboot of The Boys in the Band is one of his strongest offerings since moving to Netflix, partly because it refrains from the more overt historical [...]

Stanley Kubrick’s 2001: A Space Odyssey opens, magisterially, with “The Dawn of Man,” moving from sunrise over an African veldt, to a series of desert animals, to a [...]

By the time he arrived at The French Connection, William Friedkin had already mastered cinematic naturalism – a considerable achievement, given that his previous three [...]

Stanley Kubrick’s first feature as director was a remarkably fully-formed debut – an abstract war film about a group of soldiers who “keep our country and our time, but [...]

William Friedkin’s first film was Good Times, a Sonny and Cher vehicle that plays as two quite distinct films. The first is a series of mild, inoffensive parodies of [...]