Tom
The Bike-Riders (2024) – Review
Jeff Nichols is a pronounced figure in American film and has for my money made thus far four very g…
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Tom
Warren Beatty’s Misfire of all Misfires; Bulworth (1998, Written by Beatty and Jeffrey Pikser)
Perhaps there is no bigger swing in Beatty’s career than Bulworth. Now of course scope wise one doe…
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Tom
Hit Man (2024) – Review
There are star vehicles that are designed to show off variety, then there are star vehicles designe…
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Tom
Halloween – THE WHOLE SAGA (Part One)
The Halloween series is one of the most convoluted and messy horror franchises we have ever had. Wh…
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Tom
The Way We Were (1973) – Barbara, Robert and Sydney
Sydney Pollack, working with Robert Redford once more came in 1973 to adapt to the screen the beaut…
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Tom
Cruising and Jade – Friedkin’s Successes and Failures in the Erotic Thriller Genre
Cruising feels in many ways like a film one must clear their throat for before talking about – no p…
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Tom
Oliver Stone’s Nixon, His Mirror to JFK.
Whereas as much as JFK is a film about political and governmental mistrust and conspiracy as it is …
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Tom
Blazing Saddles (1974) – 50 Years On
In 1974, as aforementioned, Mel Brooks released two comedic masterpieces with his frequent and grea…
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Tom
Shcrader’s American Gigolo – A Statement on a Decade and a Statement of Intent
There is a mission about Paul Schrader’s film American Gigolo, just as there is a mission about it’…
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Tom
Dead Poets Society (1989) - The Beauty and Pain of Coming of Age
In the 80’s boom of 50’s set nostalgia films there was more than a few that were set inside the pr…
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Tom
Robert Altman’s The Player (1992)
Hollywood has been making movies about itself nearly since the beginning, and for that matter Holly…
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Tom
“The American Dream is a product”: Comparing Arthur Miller and David Mamet’s portrayal of the salesmen of said Dream.
“Happiness comes not in fulfilling the dream but in ever believing in it and reaching for it"…
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Tom
Furiosa: A Mad Max Saga (2024) – Review
In many ways it is hard of course to follow on from what many rightly in my opinion refer to as one…
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Tom
Giving Up Berlin - Comparing the presentation and dissection of America and the nuclear family in Albee’s “Who’s Afraid of Virginia Woolf” and William’s “Cat on a hot tin roof”
Within both Edward Albee’s “ Who's afraid of Virginia Woolf?” and Tennessee William’s “ Cat on…
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Tom
Love Lies Bleeding (2024) – Review
After the incredibly promising Saint Maud, whatever Rose Glass was to do next was always going to b…
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Tom
Triple Bill: Written and Directed by Colin Higgins
Truly one of the great losses in comedy film history is that of Colin Higgins, who after his major …
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Tom
The Fall Guy (2024) – Review
Now I have often gone on rants about sincerity in our movies of late, with so many frequently for m…
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Tom
Abigail (2024) – Review
When it comes to absolutely solid and completely enjoyable horror that still manages to imbue genui…
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Tom
Late Night With The Devil (2024) – Review
On paper Late Night With the Devil presents itself in a mould that inhabits one of my favourite pi…
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Tom
The First Omen (2024) – Review
Now for better or for worse, as has happened may times before and will happen I’m sure many times a…
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Tom
Immaculate (2024) – Review
To paraphrase… somebody I think, a great film need only have a great opening, a great ending and tw…
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Tom
Civil War (2024) – Review
Coming home after the cinema I am often asked by my family what I thought of the film I just watche…
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Tom
Mother’s Instinct (2024) – Review
Lord knows I love a 50’s physiological thriller and lord knows I love Anne Hathaway, which is why I…
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Tom
Ghostbusters: Frozen Empire (2024) – Review
N ow I gave Afterlife both an easy road and a hard road, an easy road in the sense that I gave the…
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Tom
Challengers (2024) – Review
Perhaps my most anticipated movie of the decade. Pardon me if I re-use this joke on the podcast but…
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TV series
‘More Than a Study in the Tragedy of Mundanity’; A Study of ‘Everyday Tragedy’ within Alan Bennett’s “Talking Heads”
In 1988, Alan Bennett did something rather unprecedented for the theatrical landscape of the era of…
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Tom
Lisa Frankenstein (2024) – Review
I had high hopes for Lisa Frankenstein for many reasons and it is unfortunately so that for all it …
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Tom
Drive Away Dolls (2024) – Review
There are odd films and then there are filmic oddities, Drive Away Dolls is such a film that is bot…
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Tom
Dune: Part Two (2024) – Review
There is no doubt in my mind that on a proficiency and craft level I may not see a better film this…
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Tom
Back to Black (2024) – Review
Firstly, don’t watch this film, watch Asif Kapadia’s Amy. Now read the review. I have made it ver…
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Tom
The Big Chill, Forty Years On from Fifteen Years On – Everything Still Fits
The ultimate achievement in Lawrence Kasdan’s cannon as a writer and director and the one that in m…
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Tom
Brian De Palma, “the Modern Master of Suspense” (Part Four – 00s and Onward)
This is a continuation of last week’s article exploring the earlier works of Brian De Palma. Cred…
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Tom
Brian De Palma, “the Modern Master of Suspense” (Part Three - 90’s)
This is a continuation of last week’s article, exploring the works of writer and director Brain De …
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Tom
Brian De Palma, “the Modern Master of Suspense” (Part Two – 80s)
This is a continuation of last week’s article, exploring the works of writer and director Brain De …
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Tom
Wicked Little Letters (2024) – Review
To start with I guess one must address the very British elephant in the room in that as a British c…
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Tom
Madame Web (2024) – Review
Now don’t get me wrong, this is still a 1/10 film, the sort of film that does make you wonder about…
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Tom
Bob Marley: One Love (2024) – Review
#Re-releaseWalkHardTheDeweyCoxStory I grow ever so ever so weary of the same cycle that goes with…
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Tom
Brian De Palma, “the Modern Master of Suspense” (Part One – 60s and 70’s)
Over the course of the next three articles, I will explore and look at (in some cases for the fir…
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Tom
All of Us Strangers (2023) – Review
Anybody who knows me will know that one of my favourite films of all time and one that I am constan…
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Tom
The Iron Claw (2023) – Review
Sean Durkin’s The Nest was one of my very favourite films of the year of its release and so I was a…
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Tom
Mike Nichols: The Greatest (The 00’s)
The end is always nigh. Such is the pain of life. But lets not eulogise just yet, whilst we still h…
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Top Tens
The Thomas Carruthers Awards 2023 (Yes, it’s back! Again!)
*The Thomas Carruthers Awards are a prestigious awards body comprised of 8 awards; Best Film, Best …
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Top Tens
My Top 20 Films of the Year (Start of February 2023 – End of January 2024)
*I choose these dates wholly arbitrarily based upon my U.K residence and the fact that due to my co…
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Tom
D*cks the Musical (2023) – Review
There is nothing I love more than audacity and originality that lands and in our current comedic la…
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Tom
The Royal Hotel (2023) – Review
With the strike and with COVID there has been an awful lot of sophomoric releases this year aswell …
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Tom
The Holdovers (2023) – Review
I wasn’t disappointed by any means on first watch by The Holdovers, on a first watch in-fact I note…
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Tom
American Fiction (2024) – Revi
Every year an incredibly strong debut comes along that becomes a dark horse in the Oscar race and t…
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Tom
Mike Nichols: The Greatest (The 90’s)
I keep waiting to write the introduction where I note that this was Nichols weakest decade, and y…
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Tom
Argylle (2024) – Review
The morning of Saturday 3 rd February was a terrible series of events, two mainly. One was a car i…
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Tom
The Killer (2023) – Review
David Fincher is in my all time top directors ranking – I mean when a man loves Benjamin Button and…
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Tom
The Zone of Interest (2023) – Review
Jonathan Glazer’s debut film was the sensational, incredibly volatile and high octane Sexy Beast, a…
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Tom
Ferrari (2023) – Review
This year due to a plethora of reasons has ended up one where many of our great film-makers and man…
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Tom
May December (2023) - Review
Well. Not in a very long time has my top three films of the year been of such an incredibly high ca…
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Tom
Eileen (2023) – Review
I try whenever I can to read material before seeing their film adaptations, fortunately a holiday l…
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Tom
Maestro (2023) – Review
So it seems that Maestro is to be the film that is of this Oscar season one of my films to defend a…
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Tom
One Life (2024) – Review
I have to admit I feel rather ghoulish and guilty about how tepid I plan to be about this film, whi…
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Tom
Dream Scenario (2023) – Review
In a year of bold projects for A24, Kristoffer Borgli’s Dream Scenario in many ways feels like a re…
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Tom
Anatomy of a Fall (2023) – Review
There have been two films this Oscar season so far that have been incredibly acclaimed that in a ra…
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Tom
Anyone But You (2023) – Review
I would like if I may to reprint my concluding words from my review of 2022’s Ticket to Paradise; “…
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Tom
Poor Things (2023) – Review
It happens every Oscar season to every film lover – that one film, or two, hopefully no more just d…
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Tom
Saltburn (2023) – Review
There is indeed an intoxication and a seduction at the heart of Emerald Fennell’s Saltburn, that on…
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Tom
Triple Bill: Directed by Jonathan Glazer
Jonathan Glazer as a director is very singular in the respect that I don’t actually think you could…
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