The taut script and one-shot cinematography build tension terrifically in the first half. Like Philip Barantini’s BOILING POINT, it feels as if the rooms are filling up with too much gas and will inevitably burst into flames.

I love mountains and have a real weakness for mountaineering documentaries. What distinguishes TOUCHING THE VOID from American-produced documentaries about Nepalese or American mountaineers is its attention to detail and its emotional rawness.

Just fine. A whodunnit murder mystery comedy that doesn’t stand up to recent takes on the genre like KNIVES OUT or SEE HOW THEY RUN but manages to skate along nicely on Jon Hamm’s charm and screen presence.

After ALIEN, ALIENS put the franchise on a path that it didn’t have to take. There was a path available where ALIEN 2 continues with the New Hollywood feel of ALIEN, where it explores the mysterious cosmic Lovecraftian horror of LV-426 and the alien creature, where it leans into the elements that made ALIEN such a masterpiece.

Beautifully shot, joyously inventive and subversive, emotionally real. Most importantly, RYE LANE captures the messy energy of South London, a place I called home for the better part of a decade.

A film where the central thesis—that visual language in cinema, primarily shot composition, both perpetuates and is produced by patriarchal ways of seeing women that contribute to the mainstream cinema industry’s excess of economic discrimination against women and sexual assault against women—is obviously and inarguably true but the presentation of that thesis severely hampers the power of the film.

Following on from GUARDIANS’s focus on the human, the overarching theme of the Guardians films is represented in the moment when Ego (Kurt Russell) tells Peter Quill (Chris Pratt) that while he’s alive Peter is a god and if Peter kills him he’ll be just like everybody else.

One shot that hit me this viewing was the quick shot towards the end of Dey (John C. Reilly) returning home after the obligatory Marvel third act battle to his family, his partner and his daughter.

My reaction to this film was heavily influenced by the fact I last saw the Guardians characters in the Avengers films where they were done dirty.

Quite apart from the blossoming of his distinctive aesthetic (developed in collaboration with his long-time cinematographer Robert Yeoman who rarely gets enough credit for it), RUSHMORE provides early insights into many of the deeper themes and preoccupations that would go on to define Wes Anderson’s work: a focus on class and social status particularly with regards to the hierarchy of positions within esoteric institutions; an eye for the outsider figure and the social outcast; a fascination with under the sea and the life aquatic.