Madonna’s W.E. is a film that switches between the lives of Wallis Simpson (Andrea Riseborough)…
Steve Martin? In a serious role? It works, says Steve Thompson, revisiting David Mamet’s 1997 film The Spanish Prisoner. Expect twists, turns, twisty-turns and smarty-pants dialogue, and be sure to pay rapt attention.
Sitting in a darkened room with 15 people, my toes were so curled I could almost kick my kneecaps. Across the room I saw winces, hands across eyes and heads fully turned from the screen. “Oh my…” breathed the woman behind me.
Where do zombies come from? They owe a debt, or at least an offering of brains, to Herk Harvey and his only feature length film, Carnival of Souls. Steve Thompson reviews the seminal horror classic.
Reviled by many critics and ignored by audiences, Twin Peaks: Fire Walk with Me has unjustly slipped under the radar. Dig below the surface, scrape away years of dirt, and you’ll reveal a rich and multifaceted cinematic gem.
Beautiful, sartorially elegant, thought-provoking, decades ahead of its time, fun and exciting; The Prisoner deserves its position as one of the most influential television dramas ever.
Did you see that film Whisky? The one that was based in a sock factory, the sock factory in Uruguay? Minimal dialogue, subtitled? The one with the loose storyline, you know it? The main character hardly says anything. Did you see it?
Steve Thompson, whose film recommendations are frankly starting to worry us here at The Arb, confesses his rather dirty love for Andrzej Zulawski’s 1981 twisted horror-drama, Possession.
As a schoolkid, a curious Steve Thompson was always on the look-out for mysteries to solve. Little wonder he is enchanted by the 2005 high-school detective neo-noir flick, Brick.
Film critic and cult-ure vulture, Steve Thompson, turns his artistic eye to a Japanese cartoon, featuring no conflict, danger, violence or mutant insects. The man’s gone soft.
Steve Thompson, film critic and cartoonist, continues his tour through weird and wacky cinematic territory, stopping off at the 1971 counter-cultural road movie, Vanishing Point.