Archives For Anti Matter

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 WoodInterview 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.’

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