REVIEW: The Invisible Man (2020)
‘Dark Universe’. The very phrase itself sends shivers down the spines of Universal studio executives who were once salivating at…
REVIEW: The Grudge (2020)
Takashi Shimizu’s supernatural-born horror franchise, which began in Japan in 2002 with Ju-On: The Grudge but was transnationally brought to…
The Despicable Invasion of Cinema? A Defence of the Marvel Cinematic Universe
“Film is pop art. It is not whether it’s auteur cinema or not; that’s a false distinction. Cinema is cinema.”…
REVIEW: Ad Astra (2019)
Director James Gray, who has made a name for himself with his grounded, New York-set dramas, reaches for the skies…
INTERVIEW: Eleanor Worthington-Cox Chats About Her First Leading Role And Working With Maxine Peake in ‘Gwen’
William McGregor’s feature-length debut Gwen also marks an exciting milestone for its young star Eleanor Worthington-Cox, who makes her debut in…
INTERVIEW: ‘Gwen’ Director William McGregor Talks About the Resonance of Folk-Horror
Folk-horror has had somewhat of a cinematic revival of late. With big-budget, studio-backed folk terrors like The Witch, Midsommar and Apostle all resonating…
REVIEW: Gwen (2019)
Most known for his contributions to British television, ranging from BBC’s gothic costume-drama Poldark to Channel 4’s raucous teen-comedy Misfits,…
REVIEW: X-Men: Dark Phoenix (2019)
With the monumental success of Marvel’s Avengers: Endgame slowly coming to a halt, the monolithic finale to a franchise that…
REVIEW: Game of Thrones – Season 8, Episode 6: “The Iron Throne”
It’s here. The end of the road. The final ever episode of Game of Thrones. All men must die, and…
REVIEW: Game of Thrones – Season 8, Episode 5: “The Bells”
Well, there will be no complaints about darkness in this episode… The penultimate episode in Game of Thrones history has…
