Screen Rats

I n the cutthroat world of corporate trading, there’s little room for sentimentality. Young lovers Luke (Alden Ehrenreich) and Emily (Phoebe Dynevor) seem cognisant of…

I n 2017, Alice Russell was attending Critical Mass, a London-wide movement of cyclists who reclaim the streets for mass rides of freedom and community. A passionate c…

W hen a music video director makes the jump to cinematic features, the expectation is that while they may experience some turbulence in adjusting to the demands of nar…

T wenty years ago, Australian filmmakers/sickos Leigh Whannell and James Wan struck gold when they came up with the shockingly simple concept of Saw. Two men with chai…

A t a certain point in most every Marx Brothers film, all the building chaos and thinly spread drama suddenly comes to a stop – Chico sits down at a piano and Harpo pi…

Act 4 There is neurodivergent (ND) solace to be had within all of Anderson’s works – perhaps because you can take a scene at random and find a stratum of informati…

I n the process of watching the new film by prolific Spanish director Isabel Coixet, a couple of big, philosophical heavy-hitters sprang to mind, most notably Lars Von…

T he strangely evolving trauma that is experiencing by a man who was sexually abused by his own father plays out in the grimly compelling, Greenland-set Kalak, the int…

Introduction The most remarkable thing about Richie Tenenbaum’s suicide attempt in Wes Anderson’s The Royal Tenenbaums is that it moves to the rhythms of entertain…

C limbing an electricity pylon is not an obvious metaphor for life. But, like life, scaling an electrical tower does present a certain level of risk. That’s what the o…

I n Which Side Are You On? , his 1984 documentary on the miners’ strike, Ken Loach focuses on the public spaces, the clubs and halls, where the miners and their famil…