Here’s a round up of everything I’ve written in March.
Annihilation (2018, Dir: Alex Garland) – ‘A surprisingly deep film…’
Anti Matter (2016, Dir: Keir Burrows) – ‘A satisfying experience.’
Black Roses (1988, Dir: John Fasano) – ‘Death by stereo indeed.’
Death Note (2017, Dir: Adam Wingard) – ‘Death Note is a sluggish, tonally uneven film which cribs from the Donnie Darko style guide.’
Deliver Us From Evil (2014, Dir: Scott Derrickson) – ‘Should you see this in your partner’s Netflix queue, break up with them immediately.’
Game Over, Man! (2018, Dir: Kyle Newacheck) – ‘Unbelievably smug.’
Inside No 9 S4E1 Zanzibar (2018, Dir: David Kerr) – ‘A sparkling start to the series.’
Inside No 9 S4E2 Bernie Clifton’s Dressing Room (2018, Dir: Graeme Harper) – ‘Poignant piece of TV.’
Inside No 9 S4E3 Once Removed (2018, Dir: Jim O’Hanlon) – ‘…impish comedic behaviour.’
Insidious (2010, Dir: James Wan) – ‘…eerily like the dream world of Drop Dead Fred.’
Kangaroo: A Love Hate Story (2018, Dir: Kate McIntyre Clere, Michael McIntyre) – ‘A well-made and emotive film.’
Kangaroo: Love it or Cull it – Interview with Kangaroo: A Love Hate Story director, Mick McIntyre
Killer Barbys (1996, Dir: Jess Franco) – ‘It’ll be hard to find anyone who would wilfully cheer this one on from the sidelines.’
Leprechaun: Origins (2014, Dir: Zach Lipovsky) – ‘No limericks, no green hats and no fun.’
Les Diaboliques (1955, Dir: Henri-Georges Clouzot) – ‘Buy it, treasure it, and never let it leave your side.’
Paranormal Entity (2009, Dir: Shane Van Dyke) – ‘Boring.’
Prayer of the Rollerboys (1990, Dir: Rick King) – ‘I’d like to acknowledge the glacial romance between Haim and Arquette that is more comical than it is sexy.’
Prevenge (2016, Dir: Alice Lowe) – ‘The film manages to comfortably navigate through nihilism and comedy.
Red Sparrow (2018, Dir: Francis Lawrence) – ‘A rollicking spy thriller.’
See No Evil (2006, Dir: Gregory Dark) – ‘Thankfully, it ends.’
Serial Kaller (2014, Dir: Dan Brownlie) – ‘Tepid Entertainment.’
Stepping Out of the Hundred Acre Wood – Interview with Christopher Robin’s Director, Marc Forster
Straight on Till Morning (1972, Dir: Peter Collinson) – ‘Mean-spirited, gritty and with a gut punch of an ending…’
The Bat (1959, Dir: Crane Wilbur) – ‘They don’t make them like Vinnie anymore.’
The Killing of a Sacred Deer (2017, Dir: Yorgos Lanthimos) – ‘More accessible than The Lobster, but just as confronting.’
The Nanny (1965, Dir: Seth Holt) – ‘The Nanny demands a spot on anyone’s DVD shelf.’
The Open House (2018, Dir: Matt Angel) – ‘All the fast pace action of an iceberg.’
Unforgettable (2017, Dir: Denise Di Novi) – ‘Trundles along.’
Veronica (2018, Dir: Paco Plaza) – ‘Veronica is the kind of film you want to succeed, which makes its failure to do so even more disappointing.’
John Noonan 