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Monday, Oct 26, 2026
New REVIEWS!
Ghost in the Cell (2026) A Kind Heart Under the Gore and Slap-Happy Combat
High Road to China (1983) A Boy’s Own Adventure
Survive Style 5 (2004) The Return of a Stone Cold Cult Classic Weirdo
The Shout (1978): cryptic, constantly rewarding folk horror classic
Eastern Trails – The Western at DEFA (1967-75): go east, young man!
Hush (2016) Mike Flanagan’s Early Suspenseful Horror, Reimagined
Trick or Treat (1986) THE Rock N’ Roll High Camp Comedy Horror Classic
Sexy Beast 4K (2000) Sweltering Heat & Subversive Gangsters
Semolina Pilchard (2026) A fearless independent Crime Thriller, Liverpool-Style
The Black Rock (2026) Impressive Micro-Budget WWII Drama
Histoire(s) du cinéma (1988-1998) review 2: the extras (1982-2024)
Treasures from the Golestan Film Studio (1961-1974): the union that birthed Iranian cinema

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Sword of Doom (1966) one of the highest watermarks in Samurai cinema (Review)

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Hunt Her Kill Her (2022) – A Predictable Slasher Comfort-Blanket for Horror Enthusiasts

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The Small World of Sammy Lee (1963) A Forgotten Gem of the Wave of British Social Realism (Review)

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Fists in the Pocket (1965): A Disquieting, Macabre Satire of Family Values and Catholic Morality (Review)

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Ken Russell: The Great Passions (1965-7)(Review)

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A Jester’s Tale (1964) Karel Zeman’s Astonishing Anti-Historical War Epic (Review)

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Winnie the Pooh: Blood and Honey II (2024) Superior Splatterfest Still Misses the Punchline (Review)

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Movies & Documentaries

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The Sound Barrier (1952) David Lean, The Showman with Substance? (Review)

Graham Williamson 05/04/2016
The Sound Barrier (1952) David Lean, The Showman with Substance? (Review)

Despite being a hit on its 1952 release, The Sound Barrier is now one of the least-seen of David Lean’s films.  A shame, as it represents an artist in the middle of a fascinating transition.  Released just five years before The Bridge on the River Kwai, its daring spectacle points […]

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  • Reviews

Ken Russell: Great Composers (1965-7)(Review)

Rob Simpson 02/04/2016
Ken  Russell: Great Composers (1965-7)(Review)

The music documentary is enjoying a boom period with the likes of 20,000 Days on Earth & Searching for Sugar Man receiving both critical and commercial acclaim, there’s also the channel defining content from the award-winning BBC Four. Staying with the British Broadcasting Corporation, it is easy to forget what […]

  • Movies & Documentaries
  • Reviews

Ken Russell: The Great Passions (1965-7)(Review)

Graham Williamson 29/03/2016
Ken Russell: The Great Passions (1965-7)(Review)

How many BBC arts documentaries of the 1960s do you think begin with the exhumation of a mummified corpse, lit by flickering torches and soundtracked by booming horror-movie music? Not many, I’ll wager, but then there weren’t many directors walking the corridors of Broadcasting House who resembled Ken Russell. For […]

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Sheba, Baby (1975) Blaxploitation, PG style (Review)

Graham Williamson 21/03/2016
Sheba, Baby (1975) Blaxploitation, PG style (Review)

On the face of it, we shouldn’t need to watch blaxploitation any more.  As soon as Will Smith and Denzel Washington became viable Hollywood action movie stars, its USP of showing black actors in empowered, heroic roles was co-opted.  This, though, ignores the pleasures of blaxploitation as a movie-making style; […]

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Shooting Stars (1928) Unapologetically British Silent Film Glamour (Review)

Graham Williamson 21/03/2016
Shooting Stars (1928) Unapologetically British Silent Film Glamour (Review)

It’s not often that I’m prescriptive about the way you choose to watch a film, but if you do get the BFI’s new dual-format edition of Anthony Asquith and A.V. Bramble’s pioneering British silent Shooting Stars, watch the extras first. The main bonus feature is a near-fifty minute compilation of […]

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James White (2015) Christopher Abbott staggers in indie paint-by-number trauma drama (Review)

Rob Simpson 04/03/2016
James White (2015) Christopher Abbott staggers in indie paint-by-number trauma drama (Review)

Independent film used to mean something, but with the rise of the internet, this has shifted 180 to the point where young filmmakers need to carve out their own niche in order to stand out from the staggering mass of people acting under the indie film umbrella. Joshua Mond along […]

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Something Different / A Bagful of Fleas (1962-3) breezy, charming and fiercely political (Review)

Graham Williamson 02/03/2016
Something Different / A Bagful of Fleas (1962-3) breezy, charming and fiercely political (Review)

Before we get into Second Run’s new release of Věra Chytilová’s debut film and the short that preceded it, let’s take a second to acknowledge that all of Chytilová’s 1960s work (barring her contribution to the 1965 anthology film Pearls of the Deep) is now available on British DVD. This […]

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Nina Forever (2015) A fore-runner of the romantic Horror Sub-Genre (Review)

Ryan Davies 26/02/2016
Nina Forever (2015) A fore-runner of the romantic Horror Sub-Genre (Review)

After gaining a massive amount of praise at The British Independent Film Awards and Frightfest, it’s easy to see why Nina Forever – the directorial debut from The Blaine Brothers – distinctly carves out its identity through considered execution and challenging conventions. Following a tragic motor accident which led to […]

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Uzumasa Limelight (2014) A Wistful, one-of-a-kind Samurai Movie (Review)

Rob Simpson 16/02/2016
Uzumasa Limelight (2014) A Wistful, one-of-a-kind Samurai Movie (Review)

Few genres associated closely with a nation have lasted as long as the samurai has for Japan, most follow the path of the Western in that they had a golden era with occasional post-boom pockets. The latest film to be released on Third Window Films, Uzumasa Limelight, concerns itself with […]

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Fixed Bayonets! (1951) Gleefully old-fashioned Korean War pulp poetry (Review)

Graham Williamson 14/02/2016
Fixed Bayonets! (1951) Gleefully old-fashioned Korean War pulp poetry (Review)

Before he was a director, Samuel Fuller fought in World War II and worked as a tabloid journalist.  The former experience shaped his politics, the latter shaped his sensibility.  If Fuller’s films sometimes seem simplistic, their simplicity is at least born of sincerity.   He knows what he believes, and he […]

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