Louis Norton

Gross and morally cobwebbed, Otto Preminger’s 1954 opus is an arresting answer to the black-and-whiteness of feel-good crime dramas.

The “unfortunately necessary sequel” doc to 2003’s The Corporation skewers modern forms of colonialism, looking at how the face of big business has changed – but behaviours haven’t.

The combination of cinematography and a hilariously expressive cast turns the whole silly drama into something altogether musical.

Ben Wheatley’s new Netflix film might make you wonder where the company gets the audacity to continually raise its subscription price.

DITZRecord Junkee, 15 February"Probably the best band in the world." A bold claim from Idles lead singer Joe Talbot when discussing…

In Jean-Luc Godard's 1965 film Pierrot le Fou, Jean-Paul Belmondo asks his partner in crime Anna Karina: "Why do you look so sad?". Her…

Revisit Stanley Kubrick's mystifying, slow-paced swansong this month at The Showroom if you dare. At the turn of the millennium and…

The Irishman is a funereal film. It's one of those melancholy retrospectives that a master of cinema might create as they approach their…

James Gray looks to the stars with his genre flirtation, Ad Astra, about lonesome astronaut Roy McBride (Brad Pitt), who has believed his…

From Joanna Hogg comes The Souvenir, a rich semi-autobiographical knockout that recounts the director's personal experience at film school…

Ari Aster turns his attention towards wilting relationships with this flowery folkloric horror about the carnivals of grief and…

Martin Scorsese examines American myth-making in this hypnotic documentary about Bob Dylan's unsuccessful 1975 tour mysteriously titled…