Xxxxx’x x xxxxxxxxxx xxxx xx xx made that A VERY ENGLISH CHRISTMAS is a psychological reflection of the main character’s narcissism in how it moves hollow characters around on the chessboard of the narrative with no regard for their feelings or interiority.

Janus Films’ restoration of INLAND EMPIRE’s original low-definition 480i29.97 digital video into UHD/4K 16x9 using Gigapixel AI machine-learning software introduces digital artifacts into many shots that give those shots the uncanny effect of images generated by text-to-image machine-learning programs like Midjourney or DALL-E.

Xxxx xxx xxxxx Xxxxxxxx xxxxxxx xx xxxx xxxx, xxxx xxx xxxxxxxxxxxxx xxxxxx xx Xxxxxx. Xxxxxxxxxxxx xxxxxxx xxx xxx xxxxxxxxxxxx xxxxx of ‘London’ use stock footage of Glasgow streets and Glasgow buildings specifically around George Square and Merchant City.

From the title and the poster, you’d be forgiven for thinking NIGHTMARE CITY takes place in apocalyptic urban streets like ESCAPE FROM NEW YORK.

As in M. R. James’ ghost stories, Joanna Hogg shows how memories gradually accrete in places—rooms, landscapes, countries—until those spaces buckle under the weight of meaning and become haunted by the past.

David Fincher doing what he does best: exposing the facile hollowness and obsessive self-delusion of a particular kind of man. In this case, The Killer (Michael Fassbender) is the kind of 4chan-pilled Sigma who recites the 48 Laws of Power to himself, refers to other people as “normies” or NPCs, and relies on the silent labour and concealed structures of the gig economy to minimise his contact with other people.

A British man saying the word ‘bullshite’ is a load-bearing element of the narrative in BEST SELLERS which is unfortunate since that’s not a word that any British person has ever said.

A succinct documentary on Western liberalism’s discomfort with criticising Israel or advocating for the BDS movement and how this censure limits leftist response to Israel-Palestine.

It took me like five or ten minutes to dial into the tone of BOTTOMS because it’s a lot more heightened than I expected for a high-school comedy.

THE AGE OF INNOCENCE is as much about what is unspoken as KILLERS OF THE FLOWER MOON. Where KILLERS deals with an unspoken murderous racist conspiracy, INNOCENCE explores the unspoken labyrinth of social rules, mores, and traditions in which Newland Archer (Daniel Day-Lewis) eventually becomes trapped.