Released on demand and in select cinemas tomorrow, Mind-Set is the feature-length directorial debut of Scottish filmmaker, academic and festival programmer Mikey Murray, who also wrote the screenplay. The film is a story for our time, concerning a couple played by American actor Eilis Cahill (Mad), and Steve Oram (Sightseers), […]
British Cinema
Baby Brother (2023) Impressive Micro-Budget Liverpool Indie (Review)
To Nowhere (2020): Queer Coming-of-Age British Indie (Review)
Released to cinemas and Curzon Home on 30th June, To Nowhere is the unflinching feature debut of director Sian Astor-Lewis. A striking blend of arthouse and kitchen sink, this low-budget, crowd-funded British indie explores the coming-of-age travails of two queer teenagers, taking us deep into the heart of their emotionally […]
Hounded (2022) A Successful Social Horror Of The Class Divide (VOD Review)
Wayfinder (2022): a wilderness that could do with more wildness (Review)
Normally, when reviewing a debut feature, it’s fruitless to look to the director’s back catalogue for comparison points. Either they’re so new that there aren’t any, or you relegate yourself to pointing out the obvious. (Try not to fall off your chair, but I think Emma Seligman’s 2018 short Shiva […]
Censor (2021) Edit this disc-set into your reality (Review)
Prano Bailey-Bond’s Censor was one of the most impressive films released in 2021. Shot on a tiny budget by a first-time director, Bailey-Bond offers a compelling story of grief, trauma and an unravelling psyche, set against a meticulously created vision of the 1980s. Censor offers nods to horror cinema and […]
I Start Counting (1969): or, when is a reissue really a box set? (Review)
The Frightened City (1961) Connery on the Cusp (Review)
Released to StudioCanal’s Vintage Classics Collection this week, The Frightened City is a 1961 British noir from Canadian-born director John Lemont about protection rackets in London’s West End. It’s a solid, if fairly unremarkable gangland thriller, one which would perhaps be lost to the mists of time were it not […]
Real (2019): breezy but uneven cycle through working-class romance (Review)
There’s something about bicycles in film, isn’t there? Ever since Vittoria de Sica’s Bicycle Thieves, the two-wheeled transport has been used to denote a kind of child’s-eye realism by Ridley Scott (Boy and Bicycle), the Dardenne brothers (The Kid With a Bike) and Haifaa al-Mansour (Wadjda). Even in the more […]