From the work of Bob Flanagan to the lowbrow, mainstream spectacle of the JACKASS films, self-injury becomes culturally valuable through its exposure to an audience, raising the fundamental question…

Director Kevin Walls talks about his experience finding the right leads, doing Glasgow justice on screen, and why, to him, PREMATURE is a coming of age story at heart.

HOW TO GET FILTHY RICH is an engaging and original look at the decline in living standards and the beginnings of working out what to do about it.

Zinedine Zidane has a case to be the most cinematic of footballers. ZIDANE: A 21ST CENTURY PORTRAIT stands as a key pillar of his enduring mystical status twenty years on.

Zach Cregger's creative choices evoke the survival horror player experience at the core of the video game series, making RESIDENT EVIL a strong and effective adaptation.

Simon and Jim return to discuss Steven Soderbergh’s OCEAN’S ELEVEN, the first in his trilogy of Ocean’s films. They discuss the film’s huge jump in quality from the 1960 original, the stylishness and…

THE SAVIORS has interesting things to say about xenophobia, suspicion, and acceptance, even if it holds its most interesting cards in reserve for a hand it never ends up playing.

With plenty of insight into the turbulent life of a beloved creative, the experience of watching Pedro Almodóvar's BITTER CHRISTMAS absolutely worthwhile.

In LEVITICUS, from debut writer director Adrian Chiarella, the idea of conversion therapy is turned into a literal, terrifying and violent real life curse in the spirit of IT FOLLOWS.

TAKE ONE Presents… returns for another job, this time sticking up the Ocean’s franchise and taking all the critical insight we can get from this franchise. In this first episode, Simon and Jim set…

THE END OF OAK STREET is a mostly forgettable adventure that evokes the better alternatives it seeks to use as inspiration.

Conservative commentators may not yet connect with Zohran Mamdani’s words at his inauguration, but cinema heard them and is articulating what civility and empathy are for.

OBSESSION is at once familiar, with a simple premise, but devastatingly effective, unrelenting, unsettling and terrifying.

Instead of portraying resistance as heroic, EAGLES OF THE REPUBLIC examines the subtle, often demeaning negotiations individuals make with power.

Nolan’s choice to adapt the Odyssey shows the continuing influence on modern storytelling, and the technical choices are emblematic of Nolan’s domination of modern blockbuster filmmaking.

As AKIRA took to the cinema screen once again for a re-release just this year, it reminded us of its storming arrival to the science-fiction genre in 1988. The film may not suggest a perfect tomorrow, but promises a future we can choose.

As we approach twenty years after the release of CHILDREN OF MEN, Alfonso Cuarón’s imagining of a grim world racked not by a plague or natural disaster, but by human apathy, remains a fitting warning.

In this epilogue to their Terminator series, Simon and Jim wrap up their thoughts on the franchise as a whole, explore what the directors of these films went on to do, give their final rankings of the...

Despite some odd omissions, OUR LAND is a sweeping exploration of the relationship between the people of England and their land.

With a nuanced perspective and a harmony of performances and technical elements, THE INVITE elevates itself into a surprisingly affecting examination of love from director Olivia Wilde.

At the rotting core of ROSEBUSH PRUNING, there is nothing new or purposeful to be gleaned from its boring, pointless provocations.

BLUE HERON is a gentle demonstration of cinema’s power, and Romvari's ability to create a tangible, shared experience of something difficult to put into words. The film is one of fuzzy memories & half-truths, but the impression it leaves is firm & enduring.

Cinetopia Radio · Episode

THE LAST GUEST OF THE HOLLOWAY MOTEL is a testament to a wish to change the oppressive gender ideals living in the football sphere and start building a community in support of queer football players.

Based on the 1919 book, Tina Garavi's film adds entertaining anachronisms and dramatic storylines to suit its new medium; some of these choices land, others are not given the time to warrant their daring.

Simon and Jim finish their journey through the Terminator franchise with Tim Miller’s TERMINATOR: DARK FATE. They get into whether the film is actually good or if they’ve just been down in the…

THE FALL OF SIR DOUGLAS WEATHERFORD is the story of a tour guide in a small Borders town, driven mad by the intrusion of a television crew filming a prestige fantasy series, balancing a light comedy t...

BLUE HERON is a gentle demonstration of cinema’s power, and Romvari's ability to create a tangible, shared experience of something difficult to put into words. The film is one of fuzzy memories & half-truths, but the impression it leaves is firm & enduring.

BACKROOMS is an eerily realised creative vision, but it’s difficult to escape the idea that it takes a suboptimal turn away from the technical strengths that give this adaptation such a firm footing.

Performances and occasional wit cannot save KÖLN 75 from being baffling and trying. Unlike the real concert, this film squanders what could be a great premise on a too-neat feel-good story.

Simon and Jim enter the modern era of Terminator films with TERMINATOR GENISYS directed by Alan Taylor, a film with a promising start that goes on to absolutely fall off a cliff. They discuss the…

HEN merely enables the viewer to take comfort that, although they may not have yet gone vegan, at least they've likely never chucked a living chicken off the roof of a building for their art.

Despite its allegory that is as blatant as an audience might expect, THE GOOD BOY packs in a surprising amount of affecting moments, and the knowledge England’s Good Boys can only be raised by Good Systems.

The vapidity of MICHAEL is all the more irritating given the allusions and nods it makes to the things that shaped all facets of Jackson’s life, image, and creative vision. The film is bland at best and cowardly at worst.

If cinema is to survive as a community experience, we need to value and protect places like the Ultimate Picture Palace in Oxford, now in the middle of a campaign to secure its long-term future.

OMAHA might not employ the most thoroughly crafted methods by grabbing the heartstrings in its fist, but the cast’s performances capture an honest empathy that is difficult to put aside. And maybe you shouldn’t.