DICK JOHNSON IS DEAD uses its juxtapositions to create a bright and vibrant depiction of coming to terms with death that takes grieving outside the confines of the hospital or the hospice.
RELIC masterfully anticipates the fears and ideas of the audience, leading to a powerful conclusion about what we owe our family despite their mean, monstrous, or horrifying aspects.
HONEYMOOD stands apart from other entries in the genre with its dark edge, its sense of the absurd and fantastic, and empathy for the film’s flawed, imperfect characters. Simon Bowie reviews.
As PARASITE returns to cinemas in black and white, Simon Bowie looks at the growing trend and some of the motivations for presenting different entertainment forms without the full colour spectrum.
Andrew Kötting’s latest film, THE WHALEBONE BOX, is an abstract and beguiling psychogeographic documentary about the journey of a box.
MY FIONA is a promising debut from Kelly Walker and a heartfelt film about the complexities of life and grief.
By helping people across borders, across sexualities, across genders, THE LAWYER tells us that we can challenge oppressive systems, use our privilege to help others, and improve the world for marginalised people.
The ‘gore cut’ of the film – screening at Glasgow Film Festival – cements TAMMY AND THE T-REX’s status as unapologetically campy nonsense best seen in a cinema with other people. Simon Bowie reviews.
Like a half-remembered video game that you played as a kid that now you come to describe to someone as an adult, JESUS SHOWS YOU THE WAY TO THE HIGHWAY sounds utterly improbable but is never boring. Simon Bowie reviews.
VHYES celebrates VHS and ‘80s TV aesthetics by recognising that, like music recorded on vinyl, the imperfections of the format are what it makes it special. Simon Bowie reviews.