mon 24/06/2024

horror

The Exorcism review - salvaged horror movie is a diabolical mess

Helpfully, this is a film that reviews itself. Like it says on the posters, “They were making a cursed movie. They were warned not to. They should have listened.”If ever a film was meant not to be, here it is. Apparently it was going to be called...

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Arcadian review - Nic Cage underacts at the end of the world

Benjamin Brewer’s post-apocalyptic, Nic Cage-starring creature feature finds a sombre interest in fatherhood and growing up in screenwriter Michael Nilon’s bleak scenario, after Paul (Cage) gathers up two abandoned babies with black smoke blooming,...

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The Moor review - Yorkshire chiller is ambitious but muddled

A number of films in recent years have added a distinctly local flavour to the folk-horror genre. Mark Jenkin was inspired by Cornish superstitions in the ghostly Enys Men and Kate Dolan’s underrated You Are Not My Mother was ripe with Irish pagan...

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All You Need Is Death review - a future folk horror classic

Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who search for long-unheard songs crave a certain melody that works a terrible magic on the living. In this...

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Civil War review - God help America

Alex Garland’s fourth movie as writer/director is a chilling glimpse of an American dystopia, fortuitously timed for the run-up to the forthcoming US elections. However, it steers fastidiously clear of drawing any obvious Trump vs Biden parallels,...

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Ghostbusters: Frozen Empire review - a modest, well-meant return

Who you going to call? Five films into the Ghostbusters franchise, every persuadable survivor from the ’84 original, plus the ad hoc, Paul Rudd-led Spengler clan introduced in the series-reviving Ghostbusters: Afterlife (2021). The low-key, humane,...

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Jekyll and Hyde, Lyceum Theatre Edinburgh review - audacious contemporary resonances

Evil walks among us. But it doesn’t arrive courtesy of mad scientists, bubbling potions and horrifying transformations. Instead, it comes from ordinary people surrendering themselves to their basest desires and resentments. Even worse, doing that...

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The Good John Proctor, Jermyn Street Theatre review - Salem-set drama loses some of its power in London

It is no surprise that the phrase “Witch Hunt” is Donald Trump’s favoured term to describe his legal travails. Leaving aside its connotations of a malevolent state going after an innocent victim whilst in the throes of a self-serving moral panic, it...

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Oh What A Lovely War, Southwark Playhouse review - 60 years on, the old warhorse can still bare its teeth

In Annus Mirabilis, Philip Larkin wrote,"So life was never better than In nineteen sixty-three (Though just too late for me) – Between the end of the "Chatterley" ban And the Beatles' first LP."That might be the only point...

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1984, Hackney Town Hall review - Room 101 shapeshifts into 2023, but remains as terrifyingly plausible as ever

The day after I saw the show, as went about the mundanities of domestic life, I wondered how long it would take to come across a reference to 1984. My best bet was listening to an LBC phone-in concerning next week’s conference at Bletchley Park on...

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Dracula: Mina's Reckoning, Festival Theatre Edinburgh review - audacious and entirely convincing

An all-female production of Bram Stoker’s Dracula – well, kind of – that transplants the novel’s more local action to the northeast of Scotland, and finds a bloody new calling for one of its less ostentatious characters? Elgin-born writer Morna...

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The Changeling, Southwark Playhouse review - wild ride proves too bumpy to land all its points

Writing about the upcoming 60th anniversary of the founding of the National Theatre in The Guardian recently, the usually reliable Michael Billington made a rare misstep. He called for the successor to Rufus Norris, the departing artistic director,...

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