Blue Rose Film Review

Saltburn (2023) Watching this a second time I think I enjoyed it more. Being able to see Barry Keoghan's Oliver Quick behaviour with the added vision of retrospect turns the film into an entirely different experience. At what point does he decide to commit to his plan? Did he have everything planned from the start? Did he fall into it before he realised what he was doing? It was just as funny on a rewatch, and Richard E. Grant really stood out for me again. The aspect ratio also really worked for me watching it at home in a way that it didn't quite do so in a theatre, creating a really claustrophobic and breathless atmosphere. "Murder on the Dancefloor" is still stuck in my head.  Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) The first of a few films I put on in my new house after moving to settle in. Dr. Strangelove is such a comfort film for me, I never get tired of watching Peter Sellers' performances. I have always felt like Kubri

Jonathan Cornford, Sat 24th February 2024 * This article contains spoilers for The Zone of Interest  and openly addresses the topic of the Holocaust * Jonathan Glazer’s new film, The Zone of Interest, opens with a seemingly intentional confrontation to the audience, especially to those not familiar with the once commonplace pre-film overture. In asking the audience to spend almost five minutes looking at a black screen before the film actually starts, it seems to be actively and willingly testing the viewers’ patience. But what this bold choice in opening does is actually something more than simply asking the audience to appreciate the haunting musical score by Mica Levi.   It is telling the audience to do two things, both of which are vital to both the experience of watching the film itself, and the central idea that Glazer is hoping to leave an audience chewing over as the lights come up.   The first: listen. The film’s great power largely arrives with each individual audience member

The Killer (MA15+) Directed by David Fincher Written by Alexis Nolent, Luc Jacamon and Andrew Kevin Walker Starring Michael Fassbender, Tilda Swinton and Charles Parnell Duration: 118 minutes I’m of an age and certain demographic that any time a new film from David Fincher comes out I am buying a ticket for opening night. Fincher’s aesthetic and technique has been formative for me growing up as a film fan, from discovering his work as a 15-year-old with Fight Club and Se7en, all the way through to seeing Mank on the big screen in 2020. I even have more authority than most to be able to say that Gone Girl makes for a fantastic date movie. Trust me, you’ll immediately be able to tell whether or not it is worth continuing to see the person you bring with you based purely on the conversation you have afterwards.  She wasn’t.  All that is to say, though, that a new film from Fincher is an event for me, and so I made certain to catch his new film, The Killer, on the big screen before it made