Twinless is slightly sorta like Vertigo, on poppers, running on the energy of an off the walls 2000s movie laced with the spirit of a Hitchcockian thriller.
by Michel Abdulaziz
With Ride Or Die, Josalynn Smith transfuses grungy 90s dissatisfaction into the chassis of a beautifully shot modern feature, painted red, peeling to blue, then blossoming to a pale lilac.
Fiore Di Latte punctures wacky with doses of real, and Charlotte Ercoli uses the madness like an easel to paint a woefully accurate portrait of addiction.
Marina’s new album is an invigorating blend of past, present and future, where vulnerability meets camp to birth pop perfection
Twinless is slightly sorta like Vertigo, on poppers, running on the energy of an off the walls 2000s movie laced with the spirit of a Hitchcockian thriller.
A wild and surprising (and heavily British) action comedy of the absurd from Director Tom Kingsley is a treat - and made on a budget that is surely a recession indicator.
Our top picks so far, and our most anticipated going forward
A heartwarming modern take on the feel-good blockbuster action film, this colourful new instalment gives glory back to Okinawa, Beijing, and the Asian-American experience.
Instead of leaning into what you’d expect, Armstrong veers leftward (pun intended) to truly deconstruct how aggrandised masculinity self-immolates under the weight of itself.
