Adieu Bohème 

Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.

How do zombie films shine new light in the post-Covid and post-Brexit era?

Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

In all honesty, “Black and Blue” is a satisfying experience, complete with solid craftsmanship. With the help of cinematographer Dante Spinotti, Deon Taylor (the director) creates a murky, lived in atmosphere.

The concept of male fragility is explored (interestingly, by a male director) in The Sun Never Sets