Alejandro González Iñárritu’s 2000 directorial debut Amores perros provides a look into the class structure in Mexico City that is still relevant today, writes Zofia Gryf-Lowczowska
Although Charlie Buhler’s pandemic-based Before the Fire may seem perfectly timed, it fails to recreate even a bad apocalypse film, writes Michal Wasilewski.
Karoline Herfurth’s Stockholm syndrome-based romantic comedy Sweethearts is neither romantic nor particularly funny, writes Deputy Film Editor Josh Sandy
In light of the raft of sexual misconduct allegations within the film industry, Zofia Gryf-Lowczowska discusses whether or not we truly can separate art from its artist
Featuring a standout performance from Elizabeth Moss, Leigh Whannell’s adaptation of HG Wells’ 1897 novel is a masterclass in updating a classic character for the 21st century, writes Carl Fitzgerald
In celebration of Manchester’s upcoming Women In Media, this week’s recommendation column features the film section’s writers and editors highlighting their favourite female-directed films
This abstract Burroughs adaptation is simultaneously Cronenberg’s grimmest and funniest film, earning a spot at HOME’s latest season on ‘unfilmable’ books, writes Carl Fitzgerald
I was sad to leave that marvellous world I had been transported to for two hours – That is the sign of truly impeccable cinema, writes William Johnston
Featuring a spellbinding performance from Tom Hanks, A Beautiful Day in the Neighbourhood is a charming and heartwarming look at a true American icon, writes Will Burdess
Robert Eggers steers far from a sophomore slump with this atmospheric horror punctuated by sledgehammer performances from Robert Pattinson and Wilem Defoe, writes Carl Fitzgerald
Political satirist Armando Iannucci assembles an all-star cast for this period epic adaptation of Dickens’ novel that’s witty, energetic and charming, writes Carl Fitzgerald
Following on from The Babadook, Jennifer Kent’s latest film The Nightingale proves a searing depiction of colonialism and the intersection of oppression fronted by stellar performances, writes Carl Fitzgerald