Much like the work of Don DeLillo or David Lynch, the narrative summons more questions and mysteries than conclusions or answers.
Stephen King cultists will find the humour and originality of the author firmly intact, but perhaps only in fragments and flashes.
Bernard Rose’s Frankenstein is a compelling and thought-provoking yarn that retains an air of unpredictability.
A carefully constructed and deliberately vague set-up that milks every ounce of tension, with twists coming thick and fast.
An absurd, one-gag pony, but these alien clowns look incredible even now.
With its engaging themes of destiny, fate, and redemption, After emerges as a strangely touching and haunting film.
A bloodless take that merely skims the surface of the story’s rich depth. Uninspiring direction further renders this dreary.
Unstrained and anarchic, Lifeforce may not be considered Hooper’s best work, but it’s certainly one of his most wildly entertaining.
Compare Antisocial to projects with similar production constraints, and there is no parallel in terms of cinematic experience.
The final act crosses the line between fantastical to slightly amusing ridiculousness.
A hoot from beginning to end, this is sheer B-movie lunacy of remarkably bad proportions, and all the more essential for it.
A movie which feels like the filmmakers knew what they wanted to achieve, but were unsure on how to go about it.
Accepted for what it is, an enjoyable experience which admirably avoided becoming Groundhog Day in another guise.
Piecing together its story in multi-format, it's an interesting spin on found footage, but it falls victim to an over-zealous edit.
Schlocky good fun, but Piranha straddles the line between dull and entertaining, twiddling its thumbs between fish attacks.
Vincenzo Natali's debut holds a beauty in purity that matches the mathematical conundrum its characters find themselves in.
The transfer does not hold quite the same clarity as other recent restorations; an important package nonetheless.
There's very little to recommend this film; any comedy present is lacklustre, while the predictability is too pronounced.
The biggest mistake here is that the genetically-engineered insects of the title take a backseat. Truly dreadful.
Dreadful acting and a basic, sweary script is the order of the day, with poor use of light making the film difficult to follow.
The set piece needs more attention, but the attacks are done reasonably well, an instil of progressive tension reasonably effective.
The foreboding set piece complements the horrific story wonderfully, while Charles Laughton is genuinely sinister.
The Rig fails to capitalise on any initial potential and becomes more tedious with every dragging minute of screen time.
Stands on its own two feet amongst the usual Brit comedy suspects, which is largely due to its cast of unknowns.