Through its deliberate composition and nuanced characters, The Last Black Man in San Francisco works beautifully as an exploration of what makes us who we are

Writer Anneliese Murray takes you on her food tour of some Italy’s most desirable city breaks. From classic pasta to incredible Pizza, she has your Italian visits covered…

Part concert, part visual album, part essay, and part reflection, Bruce Springsteen’s Western Stars sometimes lacks focus, but is a stunning effort nonetheless, writes Ellie Martin

Anna Jin reviews Burnout at the King’s Arms

The technology behind Ang Lee’s latest film Gemini Man is impressive, but the the script, acting and direction are certainly not, writes James McCafferty

Jasmine Bennett debates whether new Shakespearean epic The King is deserving of majesty

Steven Soderbergh’s stylish direction combines with a characteristic standout performance from Meryl Streep in Netflix’s The Laundromat

Anna Jin and Theatre Editor Jay Darcy review the first show of Kunst Kabaret’s third season at Albert’s Schloss, which was inspired by Prince’s Purple Rain

Jason Cabell’s directorial debut, Running with the Devil, is gifted with a dream concpet and an all-star cast, but still leaves a lot to be desired, writes Carl Fitzgerald

Carl Fitzgerald reviews the painfully unscary poorly made and cartoonishly misjudged urban legend phone-horror movie

Writer Carl Fitzgerald reviews the underwhelming, undercooked sequel to Zombieland

In the first of a series of articles about film’s ability to change perceptions, writer Alisha Fryer explores the Western preconceptions around international film through the lens Hong Kong cinema

The Mancunion reviews Kara Marni’s debut headline tour

Every aspect of Martin Scorsese’s The Irishman works perfectly together to create one of the decade’s seminal films, writes James McCafferty

Jasmine Bennett discusses whether or not The Goldfinch is as much of a masterpiece as its namesake

Georgina Davidson reviews Joker; which promises a dark twist down into a bleakly lit Gotham city, but does Philip’s film reveal a somewhat troubling social commentary?

Tobias Soar reviews The Pierce Brothers’ 2019 tale of the witch-next-door, screened at Grimmfest this month

Writer Tom Kuson rolls the dice and sees what Risks the horror-comedy takes as it climbs Snakes and Ladders to its conclusion (Sorry about the puns)