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Tuesday, Oct 27, 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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Hard Boiled 4K (1992) Where John Woo pushed action cinema to its extreme

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Like Father Like Son (2013): All hail the King of the Family Drama (Review)

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Late Night with the Devil (2023) Old Standard Freshened In Engaging and Thrilling Ways (Review)

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Michael (1924) Carl Th. Dreyer’s The Phantom Thread (Review)

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Boyhood (2014) Epic Achievement that Somehow lacks a Definitive Direction (Review)

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Buster Keaton: Complete Short Films – 1917-1923 (Review)

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The Cow Who Sang a Song into the Future (2022)(Review)

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The Glass Key (1942) & The Veronica Lake Show (Review)

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Reviews

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Symbiopsychotaxiplasm: Two Takes by William Greaves (1968/2005) red-hot takes (Review)

Graham Williamson 14/12/2020
Symbiopsychotaxiplasm: Two Takes by William Greaves (1968/2005) red-hot takes (Review)

Symbiopsychotaxiplasm: Two Takes by William Greaves is the new Blu-Ray release from Criterion UK. It contains genuine footage of the Roswell incident, cast-iron evidence of voter fraud, and natural health secrets that THEY don’t want you to know. None of the preceding sentence is true, but if I hadn’t come […]

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Mouchette (1967) The kind of serious art cinema that just isn’t made anymore (Review)

Graham Williamson 08/12/2020
Mouchette (1967) The kind of serious art cinema that just isn’t made anymore (Review)

It can be daunting watching a film with a Mouchette-sized reputation. Robert Bresson’s second adaptation of a novel by Georges Bernanos (after 1951’s Diary of a Country Priest) is one of the most acclaimed works from one of France’s most heavyweight directors; it’s been cited as a favourite by everyone […]

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Waxworks (1924): An Iconic Display of German Expressionism (Review)

Mark Cunliffe 07/12/2020
Waxworks (1924): An Iconic Display of German Expressionism (Review)

Released to Blu-ray by the Eureka Masters of Cinema label last month, Waxworks aka Das Wachsfigurenkabinett was the final film that director Paul Leni made in his native Germany, before forging an illustrious career in Hollywood with films such as The Cat and the Canary, The Man Who Laughs and […]

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Possessor (2020) Escaping the Shadow of Horror Royalty (Review)

Rob Simpson 01/12/2020
Possessor (2020) Escaping the Shadow of Horror Royalty (Review)

Brandon Cronenberg, son of David, burst onto the scene in 2012 with Antiviral – a film very much cut from the cloth of his father’s most celebrated era that saw Cronenberg Sr. crowned as the undisputed king of body horror. One of the major criticisms of that earlier output was […]

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Goodbye Dragon Inn (2003) A beautiful swan song for a fictional picture house (Review)

Ewan Gleadow 01/12/2020
Goodbye Dragon Inn (2003) A beautiful swan song for a fictional picture house (Review)

I’m sure for many it’s been quite some time since we’ve been able to step foot into a cinema of any kind. A sad shame, but we can replicate the experience at home somewhat. For me, I put a Bluetooth speaker behind me that plays people loudly whispering for two […]

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Five Easy Pieces (1970) New Hollywood Icon where Jack Nicholson peels back the Persona (Review)

Rob Simpson 20/11/2020
Five Easy Pieces (1970) New Hollywood Icon where Jack Nicholson peels back the Persona (Review)

At the peak of his powers in the 1970s and 80s, they where few actors who could touch Jack Nicholson. Looking at his run of films, it’s no surprise he has gone done as one of the greatest American actors of any generation. We have Five Easy Pieces (Out now […]

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Girlfriends (1978) an agonising, engaging dive into the dark reality of the artist’s breadline (Review)

Ewan Gleadow 13/11/2020
Girlfriends (1978) an agonising, engaging dive into the dark reality of the artist’s breadline (Review)

Living with your friends is an odd experience. You get to see their most intimate, unguarded selves. I can only imagine the horrors I have presented to those I have lived with throughout my days as a University student. I once tried to hoover up a spider whilst drunk, and […]

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How You Live Your Story: Selected Works by Kevin Jerome Everson (2005-2020)(Review)

Graham Williamson 09/11/2020
How You Live Your Story: Selected Works by Kevin Jerome Everson (2005-2020)(Review)

If I had to choose one film from Second Run’s new double-disc Blu-Ray of Kevin Jerome Everson’s work to sum up his appeal to the uninitiated, it would probably be the 2015 short Grand Finale. That’s not to say it’s the best thing on offer, merely that it offers the […]

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Dawn of the Dead (1978) A guiding light of the zombie genre (Review)

Ewan Gleadow 04/11/2020
Dawn of the Dead (1978) A guiding light of the zombie genre (Review)

I remember being underwhelmed by my first encounter with George A. Romero’s Dawn of the Dead. With a need to see if I was the problem, my ulterior motives for reviewing this re-release from Second Sight was that, hopefully, my confounded outlook on what I had deemed the weakest entrance […]

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Sweet Charity (1969): a musical for its time and ours (Review)

Graham Williamson 27/10/2020
Sweet Charity (1969): a musical for its time and ours (Review)

Put yourself in the mind of a moviegoer in 1969. At the time, it seemed like Hollywood was dying, struggling to compete with new, disruptive home-entertainment innovations. Even if they didn’t exist, though, the industry would be in trouble. Studios were ruinously focused on spectacle-driven tentpole films that were often […]

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