When a genre becomes 'in vogue' it’s inevitable that the market will be saturated with copycats. The ‘Scandi-noir’ is now established, both on television and film, as is the recent upswing in serial killer thrillers based on bestselling novels. The Girl with the Dragon Tattoo, Gone Girl and The Girl on the Train’s box office success and critical praise are to blame for The Snowman, the most recent example, based on Jo Nesbo’s novel which is ten years old now. Tomas Alfredson

Blade Runner fits the archetype of a cult classic. An initially poor box office return, then feverishly discussed through word of mouth upon video release, spreading to become one of the most influential science fiction films of all time and in the upper echelons of any publication’s ‘Best Movies Ever’ list. It’s a film, like Trainspotting before it, which its many devotees felt should be left well alone. Despite Ridley Scott’s numerous edits, the various short prequels and s

In politically uncertain times a historically-set film can make the entire situation seem better or worse. So it is with The Death of Stalin, the latest from life-long satirist Armando Iannucci. His decision to delve into historical context, rather than comment on today’s landscape, is a little odd but it enables him to aim his jabs and comments freely. He also decides to use a British and American cast, with nary a Russian accent in sight. Although initially jarring this, to

The old adage would tell us that bigger is always better. It’s not a rule I’d usually subscribe to cinema though, and it taints the Kingsman sequel: The Golden Circle. Matthew Vaughan’s first Kingsman was an absolute breath of fresh air. He’d already made the superhero genre look bloated and outdated with the hilarious Kick-Ass and managed to do the absolute same with the spy genre. The old boys were dead in the water and the era of the spoof, and the 80’s soundtrack, had set

It’s been a while since we’ve seen Steven Soderbergh’s name below the ‘Directed by’ credit but he’s back, and on form, with Logan Lucky. Perhaps we were too accustomed to his ‘blockbuster heist’ movies, perhaps the styling was too ‘late 90’s/early 00's’, his regular actors replaced in the market by newer, different breeds. All irrelevant as his latest hearkens back to his imperious early run and feels fresh and vibrant. Logan Lucky feels, somewhat, like the 'Southern Ocean’s

People have long talked about certain source material which is classified as ‘unfilmable’: novels, graphic novels, comics etc. which, due to complexity, content or sheer fan devotion are deemed too precious, or just too damn hard or convoluted, to put onto a screen. As technology has improved, and indeed movie studio’s greed has increased, we’re seeing more of these projects released to cinemas and, in a large number of cases, being wildly successful (see The Lord of the Ring

I imagine when you hear Tom Cruise’s name or see a trailer for his latest film you have an exact image of what to expect. That could be either good or bad: he’s so successful purely because there’s millions of people that see his presence in a movie as reason alone to see it but, point being, he’s somewhat typecast as the gung-ho action hero. Recently, however, he’s done well in beginning to branch out beyond his own status quo. Sleeper hit Edge of Tomorrow (no, it’s not call

It seems premature to start talking up potential Oscar winners for next year but Kathryn Bigelow’s Detroit is bound to be in the running for the prestigious prize. Bigelow is not a Director to do things by halves, picking weighty political subjects and taking her time to unspool and dissect the background, action and resolution to these stories that may only be known to the casual viewer as news headlines. Her documentarian lens and eye for a set piece makes you live through

Ever thought, especially recently, that the James Bond franchise needs a serious shake (not stir) up to stay relevant? That the Bournes, Kingsmen, Men from U.N.C.L.E. and Mission Impossibles of the world are making it seem a little archaic? Atomic Blonde is the latest to try and usurp the spy movie throne and, to some extent, succeeds. So, what are the ways in which it does succeed you ask? Based on a little-known graphic novel, Atomic Blonde is a Cold War-set spy film fronte

Against all odds, Luc Besson has become a divisive, polarising Director. A peerless early run has, in recent times, turned to unpredictability. After the lacklustre Lucy (a same-old idea that had some great scenes ruined by pseudo-intellectual wankery) follows the childishly titled Valerian and the City of a Thousand Planets (it sounds like a mid-noughties Disney film.) Based on rather illustrious source material (a run of comics that influenced Star Wars, amongst other sci-f

Judd Apatow is the American master of bittersweet, the Stateside answer to Ricky Gervais, if you will. His directing, writing and producing resume is supreme and everything his steady hand touches often turns to gold, from his more famous movies like The 40 Year Old Virgin, to his cult favourites like the superb Netflix sitcom Love. His latest production credit arrives with The Big Sick: a true-life tale of Pakistani comedian Kumail Nanjiani. Starring Nanjiani himself, and wr

If, or I suppose that should read when, you go to see Dunkirk do ensure, if physically possible, that you can get to an IMAX screen because here we have a film, and indeed a filmmaker, that truly understands the power of cinema. Like Gravity before it, Dunkirk is a true ‘cinematic experience.’ A rollercoaster journey built for the thrill of sitting in front of a screen bigger than your house and with speakers designed to lift you out of your seat every time a gun is fired. En