Liam Jack reports back from the London Short Film Festival, where he spoke to filmmakers Fran Broadhurst and Mathy Tremewan about guerrilla filmmaking, the power of music and alien abduction.
Corporate takeovers – love ’em or hate ’em, when a pesky bully from the future is involved, you ain’t got nothing coming.
The MADWOMEN countdown to GREAT EXPECTATIONS continues with Liam Jack’s look back at CITIZEN KANE. Was Susan Kane Orson Welles’ take on Dickens’ Miss Havisham?
For the series’ 50th anniversary, fans have a Bond film that seems to get almost everything right, writes Liam Jack.
Arranged and funded by The Doors, and shot on just five cameras, THE DOORS: LIVE AT THE BOWL ’68 is the only full live recording of the concert. Liam Jack reviews the CFF screening.
The LOOKING EAST project is a wonderful record of how life in East Anglia and Essex has changed over the years, including industry, leisure and travel, writes Liam Jack.
Dennis Cote’s contemplative visual essay on animals in a Canadian safari park previews at CFF 2012. Liam Jack reviews.
Toni Espinosa, producer of THE NIGHT ELVIS DIED talks to Liam Jack at the Cambridge Film Festival about the film’s production, his cinematic influences and the state of cinema in Catalonia.
Although Jobs is a fascinating subject, THE LOST INTERVIEW is very tech-heavy in content and not for the casual film fan, writes Liam Jack.
The second film to be adapted from Julia Donaldson and Axel Scheffler’s hugely successful Gruffalo book series, THE GRUFFALO’S CHILD is wistfully innocent and fun, says Liam Jack.