Subverting the conventions of film noir, Carol Morley’s latest Out of Blue opens in cinemas today. But, asks Mike Pinnington, does its heavily worn ambition result in a good story well told? For...
Dan Gilroy’s latest film Velvet Buzzsaw, which arrived on Netflix this week, finds room for high art and high camp amid some grizzly and inventive deaths, finds Mike Pinnington… Art world satire posing...
Inspired by surrealist Leonora Carrington, and shot partly during the install for the Tate exhibition in her name, Mike Pinnington delves into the uncanny world of Female Human Animal… Both inspired and haunted...
Never have John Carpenter’s revenant killers loomed quite so handsomely out of the fog as in this new 4K restoration from STUDIOCANAL, finds fanboy Mike Pinnington… “That celebration tonight is a travesty –...
As her new installation is revealed at FACT for Liverpool Biennial, we speak to pioneer of the French New Wave: award-winning filmmaker, photographer and artist, Agnès Varda… On using triptychs in her work:...
With his latest psychological thriller, Personal Shopper (2016), debuting on Netflix UK recently, Mike Pinnington takes an opportunity to look back at French director Olivier Assayas’ 1996 breakout success: his ‘very meta’ Irma Vep…...
How can Denis Villeneuve’s new Blade Runner 2049 live up to Ridley Scott’s original? A film that took Philip K Dick’s famous source novel, and went on to spawn its own mythology, as...
What would happen if Blade Runner’s Voight-Kampff test – a polygraph-like machine used to determine its subject’s humanity – was applied to the cinematic form itself? Nik Glover dons his best Deckard trench...
What’s Left? A Century in Revolution at Tyneside Cinema Newcastle marks the centenary of the 1917 October Revolution in Russia. Mike Pinnington interviews programme curator Úna Henry to find out how the films examine global...