
More, hopefully, next Sunday.
All the stuff I've watched, read, listened to, etc.

Those who grew up on that stuff may get the biggest kick out of the film, but that doesn’t mean the rest of us can’t delight its gonzo joys. I won’t be surprised if Psycho Goreman has a bright future ahead as a new cult staple.Read more here.
It all unfolds as a surprisingly decent little mystery — no great head-scratcher, but it offers enough twists and turns to keep it lively. The conclusion may stretch credibility, and our hero more chances upon the identity of the killer than actually deduces it, but it suffices for a short B-movie.Read more here.
Where the first film was a riff on something like Assault on Precinct 13, this sequel turns its attention to another John Carpenter classic, clearly trying to be a version of Escape from New York... It’s a perfectly serviceable storyline, and I have no problem with movies broadly borrowing storylines and whatnot in homage to other flicks. The problem is, Apocalypse is an awfully written and produced film.Read more here.
Featuring...Read more here.
- The Saint (2017)
- Hairspray (1988)
[The first] mostly reheats, remixes, and recombines stuff you’ve seen done in other movies, but it manages just enough charm to tick over as entertaining rather than irritatingly derivative. [The second] is a step down, but it has its momentsRead more here.
Featuring...Read more here.
- Cosmopolis
- The Kennel Murder Case
- Widows

at times the film arguably slips into documentary: most of the supporting cast are real people, playing themselves or versions thereof, so when these people Fern encounters tell their stories, it not only feels real, it is real. There’s a lot of sadness — in the events that have brought people to this place, and in the struggle to live this lifestyle — but a lot of happiness in what it’s given them, too. The net result is a dignified, deeply humane portrait of people who we might describe with negative words like “homeless” or “dispossessed”, but who in reality are free, in their way. It makes for a powerful, quietly moving experience.Read more here.
Featuring...Read more here.
- Everybody Wants Some!!
- The Eyes of Orson Welles
- Eyes Wide Shut
Beauty and the Beast is reimagined as a monster movie in this iconic classic. Obviously some of it has aged (not just the effects, but some broadly racist attitudes around Pacific islanders and the ship’s Chinese cook), although its pre-Code roots allow it some unexpected liberties (from gruesome deaths to an unmistakable sexuality around Fay Wray — all within PG levels, but still). Take all that in your stride, and King Kong absolutely holds up as an adrenaline-fuelled spectacle.Read more here.
it’s definitely a funny, likeable, surprisingly romantic (but not twee) film. Indeed, even without the time loop USP, Palm Springs would be welcomed because it hits a really good tone on the romance angle. It doesn’t dive into full romcom cheesiness, but it’s also not that kind of “tacked on love story that the filmmakers clearly wish they didn’t have to bother with”Read more here.
Featuring...Read more here.
- Click
- The Help
- Mortal Engines
- Scott Pilgrim vs. the World

more than just the blockbuster entertainment of its day, Godzilla is a serious-minded work. A giant monster stomping on cities — or, if you prefer, a man in a rubber suit stomping on models — may have soon become fodder for the kind of movie fans who enjoy pulp entertainment, but, in its original incarnation, it’s an analogy for the terror of the nuclear bomb. Released just nine years after the bombings of Hiroshima and Nagasaki, it’s one of the first films to deal with that scar on the Japanese national psycheRead more here — including my thoughts on the US re-edit: Godzilla, King of the Monsters!
feels like a combination of the two previous MonsterVerse films. As a direct sequel to Godzilla (2014), it brings in plot threads and a couple of supporting characters from that movie. It also adopts the dark visual style of Gareth Edwards’ movie, eschewing the colourfulness that was part of Jordan Vogt-Roberts’ contribution in Kong: Skull Island. But what director Michael Dougherty does retain is that film's pulpiness in the storyline.Read more here.