Hostile Dimensions
Seasoned found-footage director Graham Hughes puts in the effort with a meagre budget, but a bit of inspired cinematography isn’t enough to detract from unconvincing acting and wooden dialogue.
Category Archives: Reviews
2073
Over the past decade, there has been an inescapable feeling that the world is on fire. Not just in a literal sense, regarding climate change, but also the sense that society and the social contract are burning down around us. Opposition has become polarisation that has not just merely moved the Overton window but smashed … Continue reading 2073
Red Rooms
The sociopathic protagonist at the core of RED ROOMS builds alienation with a probing camera that constantly looks but never fully reveals the mysteries in its gaze.
Conclave
CONCLAVE is an intelligently constructed film, where embellishments to its surface-level thriller mystery allow for its transubstantiation into an altar for broader themes.
Since Yesterday
SINCE YESTERDAY joyously celebrates the work of groups that, by all rights, should be better known today, and paints a vibrant picture of their artistry but also a damning picture of sexism, classism, and London-centrism that still plagues the UK’s arts scene today.
Megalopolis
MEGALOPOLIS’s proposed worldview may be naive, sometimes presented immaturely, and have enough minor embellishments and subplots in the narrative to border on the incoherent, but their expression certainly doesn’t lack sincerity and optimism.
Joker: Folie À Deux
FOLIE Á DEUX may mean this iteration of the Joker leaves cinemas with a whimper, but at least it finally had something to say with its dying breath. Jim Ross reviews.
Sujo
A picturesque chronicle of a young man’s life and the long shadow cast from whence he came, SUJO represents another assured piece of work from the creators of IDENTIFYING FEATURES.
Stranger Eyes
STRANGER EYES is a film that is both deeply cynical and resoundingly humane in portraying the hyper-surveilled Singapore. Everyone is under scrutiny, but their humanity remains beyond the camera’s gaze.
The Substance
Coralie Fargeat’s THE SUBSTANCE is a delirium-inducing concoction of numerous body horror films and literary influences, further combining an askew glance at fame and a gaudy gore aesthetic to an eye-catching effect.