Reference and recapitulation are at the heart of Rian Johnson’s new film, a follow-up to Knives Out (2019), his popular reinvention of the country-house whodunit.
Reference and recapitulation are at the heart of Rian Johnson’s new film, a follow-up to Knives Out (2019), his popular reinvention of the country-house whodunit.
An essay film on the links between The Wizard of Oz (1937), the works of David Lynch and the heartening, terrifying dreamlike weirdness of Americana.
An ambitious debut feature that ricochets from chamber piece to industry satire to paranormal puzzle box.
A marvel of inertia, it seems dignified, quiet, unobjectionable. It keeps calm and carries on. And yet…
A round-up of all my reviews of cabaret and LGBTQ+ shows from this year’s Edinburgh Festival Fringe.
A round-up of four terrific queer shows – Wilf, Delicious Fruit, Grandmother’s Closet and No Place Like Home – plus a nod to the sensational Ode to Joy (or How Gordon Got to Go to the Nasty Pig Party)
My first batch of reviews from this year’s Fringe, including Mat Ricardo, ALOK, Reuben Kaye, Sarah-Louise Young, Sooz Kempner, Michael Trauffer and more.
Jordan Peele is unique in delivering original, timely and intriguing satirical blockbusters that get under the skin. His UFO-based third feature is an unsettling, uneven inquiry into the American urge to see and be seen.
Lee Cooper’s documentary about the UK’s oldest performing drag artiste includes compelling fly-on-the-wall material and potent performance footage.