film reviews
James Saynor

Sometimes love never dies and the dead never rot. A lot of water has flowed down the River Styx since Tim Burton’s first Beetlejuice film in 1988, but the bones of the original have held up surprisingly well, the madcap morbid spoof outliving many of its peers from the “high concept” era.

Justine Elias

Blame the high cost of city housing, or killer smog. What else can explain a bright young couple’s move from 1970s Leeds to Starve Acre, an isolated, near-derelict farm in rural Yorkshire that has to be the spookiest back-to-the-land setting since The Wicker Man.

James Saynor

Life in Tudor times is a gift that keeps giving to film and TV people, even if the history has to be bent a little for things to make sense to contemporary audiences – Elizabeth (1998) and A Man for All Seasons (1966) being two of the more successful examples of such retrofitting of the past.

Saskia Baron

Paradise Is Burning is one of those films that appears to be designed to convince the outside world that Sweden isn’t all IKEA interiors and ABBA sing-alongs. There are blissful long summer days spent in pine forests and plenty of lithe-limbed girls, but the focus here is on a social underclass that Ingmar Bergman rarely filmed.

Demetrios Matheou

Every actor has their own take on what acting means to them, which will include the chance to occupy personalities more interesting than their own, or to shed their inhibitions, or simply the pleasure of ‘play’. 

A character in Sing Sing, an inmate who has joined the high security prison’s acting group, puts it more profoundly: “We’re here to become human again,” he cries, “to put on nice clothes and dance around and enjoy the things that [are] not in our reality.” 

James Saynor

We root for the rootless Outsider in classical western cinema because the places the Outsider fetches up in are scary dumps of the first order – maybe a medieval grub-hole, a Wild West deadfall or some cantina full of aliens that Harrison Ford drops in on.

Saskia Baron

A few recent documentaries have challenged the definition of the genre through the cheerful and wholesale dramatic reconstruction of past events, key moments that weren’t captured by a camera at the time.

Adam Sweeting

The book by Tilar Mazzeo on which Thomas Napper's film is based is subtitled “The Story of a Champagne Empire and the Woman Who Ruled it”, though one suspects that the life of Barbe-Nicole Ponsardin was a little less Mills & Boon-ish than the version seen here.

Justine Elias

Strange noises fill the crisp nighttime air in a small Alpine village: Avian shrieks and some wild beast a-rustling in the hedgerows – or are those the screams of a desperate woman?

Into the strange, scary, funny world of Cuckoo comes a British-American family that has upped sticks and packed the entire household – dad, stepmom, and little daughter – to rural Bavaria, where the father will be renovating the local spa-resort.

Demetrios Matheou

An old woman, inexplicably known as Granny Four, is murdered by a river on the outskirts of a Chinese rural town. A respected detective is put in charge of the investigation, with the weight of his department’s reputation on his shoulders. But this a murky, twisty case that opens and closes with such regularity that it begins to threaten the man’s sanity.