My fiancé and I recently subscribed to the horror streaming service, Shudder. It has an extensive catalogue of hard-to-find films from yesteryear as well as recent hits. But the real goldmine is the portfolio of ‘original’ oddities that cannot be found anywhere else. Consider the demented hallucinatory gem, Fried Barry, by South African newcomer, Ryan…
The Invisible Man is a showcase for its writer-director’s obvious love and talent for genre cinema.
Eastwood’s gentle touch steers Richard Jewell towards sympathy at every turn.
Birds of Prey is a restlessly fun, unapologetically female action-comedy breathing new life into the DCEU.
It’s curious praise to note that a film makes you want to book a therapist’s appointment, but this is a curious film.
Monos is a surprising film, which is perhaps the best thing an arthouse film can be.
Hustlers is not only a raucously entertaining riff on gangster tropes – it also has its own perspective.
It might only be a minor adjustment to shift a story traditionally centred on teen boys to teen girls, but it makes all the difference.
Right from the get-go, Rocketman steps out as a musical, focusing on fun rather than facts.
The depth and ambiguity of Us’s underlying metaphors is thought-provoking in a way that eclipses its contemporaries.
