“There is tension between the real and the virtual, the authentic and the simulated.” Lee Ashworth searches for the authentic in the choppy waters of narrative cinema… The Lighthouse (2019) is one of...
As evidenced by his latest outing Sorry We Missed You, director Ken Loach has lost none of his instinct for urgent, humane cinema, finds Mike Pinnington… Come the closing scene of Ken Loach’s latest...
Christopher Burns takes a breath after all the cathartic screaming and communal burning to analyse this year’s hit horror – as the 171-minute directors cut, DVD and Blu-ray are released… [WARNING: contains spoilers] Has...
When film industry research and first-hand experience told her that female writers and directors were being excluded, Mia Bays knew things couldn’t continue as they were. Mike Pinnington speaks to the Oscar-winning producer… ...
As Midsommar and Don’t Look Now hit UK cinemas, Mike Pinnington applauds the horror film that breaks free of genre constraints… I get where people are coming from when they talk about ‘post-horror’, ‘elevated horror’...
Following up success with Senna (2010) and Amy (2015), for his latest film director Asif Kapadia turns his attention to the destructive genius of Diego Armando Maradona. Mike Pinnington reviews… In grainy footage,...
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...