The Runaways tells the story of three siblings from Whitby, on the run with two donkeys.

Quietly brilliant is the simplest way to describe Die Maisinsel

Adrian Kanyoli argues that the time is right for him to suspend his hatred of white-saviour films like Green Book and Hidden Figures following the former’s recent Best Picture win

Cold Pursuit is a revenge thriller that proves nothing more than a particularly dull entry in a string of bad genre flicks

Maddy Peden talks toxic masculinity, Timothee Chalamet and the positive shift that’s happening within our current canon with Toby MacDonald

Call My Agent is quietly one of the most outstanding shows on Netflix

A tale of two siblings

A February dumping ground horror sequel that seems to meander in uniqueness only to lose its way and not really know what to do next

“Often films try to pretend they are going to change the world — this one just might”

From indie success in Japan to international adoration, One Cut of the Dead reanimates the horror-comedy genre with a wholesome tale

This year at the BAFTAS is about whether Netflix is going to win its battle with movie theatres, writes contributor Adrian Kanyoli

Tom Chambers looks back on films in 2018 ahead of The Oscars to assess the likely winners of this year.

A Private War explores Marie Colvin’s career and personal life, with her words “I see it so you don’t have to” ringing in the audience’s ear.

To study the themes of wholesome male relationships in film look no further than 2009’s I Love You, Man which unravels itself after repeated viewings.

Film journalist Anna Smith brings her podcast Girls on Film to HOME for a live recording

LevFlix was created in 2018, and hosts screenings with the community at the heart of it’s founding, organisation and continued success

Welcome II the Terrordome bridges links between past and future, a future that has become our present and for this it is more relevant than ever.

In an effort to streamline their yearly awards ceremony, The Academy has flipped the bird to the film industry in favour of pleasing the masses

The anthology is returning, argues Josh Sandy, and thankfully not in the form of a GCSE booklet

A Shakespearian tale lacking in Shakespearian substance