The mid 1970’s were a bleak time for comedy: If you need proof, just check out the lapel sizes in Granada ‘variety’ series The Comedians. You could count the number of women comics on one hand – though one of the few who made it was Sheffield born Marti Caine, who beat Victoria Wood to win
The filmography of Scottish director Lynne Ramsay would suggest that she has an attraction to dark subject matter. If there is a thread that ties her work together, it’s her sensitivity when dealing with ‘troubled’ characters, an impulse to look past their actions and explore the beneath. She is less concerned with plot and more
MyFrenchFilmFestival is taking place until the 19th February. To celebrate, we’re reviewing some of the films nominated. First up, we have Joshua Moulinie’s take on Willy the 1st (Willy 1er) French cinema has always been a benchmark for film as an art form. Often serving as the antithesis of Hollywood’s glitz and glamour it, it has held
Sometimes the tone of a film is simple. Bright. Playful. Dark. Brooding. Dark. Nolan-Batman-Dark. Gritty. Dark. But it is usually consistent. Usually. Inconsistent tone can be the downfall of otherwise successful films. Leaping from playful to harrowing is usually jarring for an audience. It can leave you feeling unsure of what the film is trying
Hodder & Stoughton bring us the absorbing, provocative and quite outstanding ‘Sleeping Beauties’ written by father and son duo Stephen and Owen King. The book is set in the town of Dooling and Dooling Correctional Institute; a woman’s prison that contains a rag tag bunch of convicts who all seem quite settled in their way
We’ve got another exciting promo video for our hotly anticipated EXIT EARTH Anthology. Today we’re looking at Joseph Sale’s ‘When the Tide Comes In.’ Three friends seek love and refuge on a beach beneath the bombs. EXIT EARTH delves into dystopian worlds and uncovers some of the most daring and original voices in print today.
They say that revenge is a dish best served cold…or in the case of ‘The Killing of a Sacred Deer,’ it’s best served with pitch black humour and chilling horror in equal amounts. As with 2015’s ‘The Lobster,’ Yorgos Lanthimos excels in using insufferable situations to illustrate relatable human fears. And very much like his