Broken Oath (15) |Home Ents Review
Top-notch action from Angela Mao, the first lady of kung fu cinema. For once, all the elements of a Golden Harvest martial arts production are aligned and work well.
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Author: Colin Dibben
Broken Oath (15) |Home Ents Review
The Oblong Box (15) |Home Ents Review
A classy bit of late 1960s Hammer-style horror that bigs up the gore and drifts into Jekyll and Hyde territory, with added splashes of voodoo and zombies. It’s no classic but the script sessions must have been fun.
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Best of the London Film Festival
You are almost guaranteed to have a good time at a London Film Festival screening or event. But a film festival is a particular kind of beast.
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The Hitcher (18) |Home Ents Review
There’s a great big existential horror hole at the centre of this 80s neo-noir/slasher/road movie classic and it will still suck you right in.
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Weird and wonderful at the London Film Festival 2024
Outside of the big names and big films, there are some great looking, less celebrated films on offer at London Film Festival 2024
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The Champions (18) |Home Ents Review
You’ll probably keep an innocent smile on your face – one that would do youthful looking lead Yuen Biao proud – while watching this immensely likeable blend of martial arts comedy and football.
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Big Beasts at the London Film Festival 2024
The London Film Festival 2024 runs from 9 to 20 October. There are some big name films and some great in-person events to watch out for
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Pharoah (Faraon) (12) |Home Ents Review
This stately and austere Ancient Egyptian political thriller is absolutely unique and riveting to watch. It is, in fact, a sort of anti-epic, which refrains from using many of the engaging if excessive elements of Biblical/Ancient Egyptian epic cinema.
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Starve Acre (15) |Close-Up Film Review
Atmosphere, period detail and provenance prevail in Daniel Kokotajlo’s second feature, which is a loving ode to the 1970s folk horror tradition.
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Nothing But The Best (12) |Home Ents Review
This dark and acerbic 1960s British comedy explores our obsession with the ‘haves’ and their high-class mores through the tinted lenses of an ambitious working-class young man.
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