Every year has a best film list and Hirokazu Koreeda snatched the number one spot with his 2013 films I Wish and Like Father like Son. Which brings one to a conundrum: how to review a film which has already been heaped with the praise
Arrow film and video are continuing their exploration of Brian de Palma’s back catalogue with their release of his 1973 film – Sisters. This follows Obsession, Blow Out, The Fury, Phantom of the Paradise and Dressed to kill in their unparalleled treatment of the director’s
Films come and go regardless of their quality; the rare exceptions to this are films that capture the mood of the time without getting bogged down in the stylised machinations of culture or fashion. Failing this, perfectly satirising an easily corruptible medium also works. For
Eureka have returned to their Eureka Classics label with the release of two titles, the first was The War Lord following that is Richard Fleischer’s Violent Saturday, a spiritual companion to the recent release of Don Siegel’s The Killers and Robert Altman’s The Long Goodbye.
Half of a Yellow Sun is a novel by Nigerian author Chimamanda Ngozi Adichie which recounts the Biafran war from a personal and not military perspective. Charged with adapting this 2007 award-winning book is first time director and playwright Biyi Bandele.
On the latest making of documentary for Arrow Films, Legendary exploitation director Jack Hill explains that Roger Corman requested that he should make a stock car film, capitalizing on their success at the time. Hill only accepted if Corman allowed him to make an art
Politics will never fail to aggravate, just as episodes from the past will never fail to hold some relevance to the now. Take Masters of Cinema’s newest addition, Le mani sulla città (Hands over the City), as the perfect example. People reading this review in
Back in the days of VHS, the idea of discovering a film was a common one; countless people visited their local video rental store and dipped their toe in the hope of finding a gem. Now, in the age of the internet, there are few
One of Arrow’s latest releases sees them take an all too rare foray away from English-speaking climes, instead heading for Japan. That release is Terou Ishii’s surreal period Yakuza film of many titles, whether its Blind Woman’s Curse, Black Cat’s Revenge or Tattooed Swordsman, whatever
Korean cinema came out of nowhere in the early 2000′s, blowing up people’s conceptions as to what action thrillers can be. They were the perfect antidote to a Hollywood system that was (and still is) becoming increasingly one-dimensional and nepotistic. This blossoming has given directors