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    ‘Disgustingly Educated’: A Trend Promising Growth or Just Another Marketing Ploy?

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  • Redbrick Rewind: Bee Movie

    Film Editor Sam Denyer considers the 2007 hit Bee Movie and asks if it has any worth beyond its newfound meme status

  • Redbrick Rewind: Girlhood

    Film Critic Anna Suffolk praises Céline Sciamma's Girlhood, an empathetic and refreshing insight into life as a young, Black woman in Paris

  • Redbrick Rewind: Clouds of Sils Maria

    Film Critic Amy Henderson looks back at Clouds of Sils Maria and champions Kristen Stewart, if not the film around her

  • Rewind: Hot Rod

    TV Editor Sian Allen attempts to jump the canyon of critical opinion and proclaim this stunt comedy a cult classic

  • Redbrick Rewind: Cloud Atlas

    Film Editor Sam Denyer looks back on Cloud Atlas and considers the legacy of its complex ideas

  • Redbrick Rewind: Spotlight

    With Parasite's recent sweep of the Oscars, Film Critic Nieve Cassidy feels it's the perfect time to take a look back at Spotlight - one of the few other times the Academy got it right

  • Rewind: Snowpiercer

    Before there was Parasite, there was Snowpiercer - and Film Editor Matt Taylor finds Bong Joon Ho's tale of class warfare to be more relevant than ever

  • Review: Revenge

    Film Editor Matt Taylor is blown away by the blood, brutality and bombast of Revenge, the perfect thriller for the #MeToo era

  • Rewind: The Kissing Booth

    Digital Editor Holly Pittaway takes a look back at The Kissing Booth, a fun-yet-trashy Netflix Original rom-com that's sure to spice up life in lockdown

  • Rewind: Dead Poets Society

    To mark 30 years since its Oscar win, Film Editor Matt Taylor decides to seize the day and make his life extraordinary by winding the clock back to the 1989 classic Dead Poets Society

  • Rewind: Bad Boys

    Film Critic Peri Cimen revisits Michael Bay's original Bad Boys, finding joy in the lead performances, but taking issue with Bay's directorial habits

  • Rewind: Sixteen Candles

    Film Critic Romana Essop looks at John Hughes' landmark 80s rom-com, and finds many problematic elements in it from a modern viewing

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