Fifteen years after its release, The Social Network (2010) remains a gripping biopic of ambition, alienation, and the origins of a platform that would go on to reshape – and outgrow – its own creator.
Fifteen years after its release, The Social Network (2010) remains a gripping biopic of ambition, alienation, and the origins of a platform that would go on to reshape – and outgrow – its own creator.
Davies’ biopic reveals Dickinson’s world as both refuge and prison, where poetry becomes her only means of resistance.
This review explores how, with striking honesty and emotional flair, Rocketman (2019) reimagines Elton John’s journey toward self-acceptance under the light of stardom.
A vivid portrait of Brian Clough’s fiery talent, The Damned United (2008) blends a magnetic performance with a return to the gritty heart of 1970s football.
Today we’re starting a series of posts in which members of the Reel Talk editorial team discuss their favourite biopics from new and seasoned directors.
First up: There’s no era of rock quite like this one, so we’re diving into The Dirt (2019) to relive Mötley Crüe’s chaotic climb from misfit beginnings to heavy-metal infamy on the big screen.
Gwyn Thomas considers the importance of Dogma 25.
Jamie Pakes explores the boundaries of the 4th Wall and the liminal use of animation in Over the Garden Wall.
The winners of our old vs new poll are announced!
Awais Fareed scathingly critiques Mike Flanagan’s The Haunting of Hill House (2018) in favour of the novel’s illusive interpretations that flashy, contemporary horror tropes fail to replicate.
To highlight the brilliance of female film directors in horror, our Reel Talk editorial team reaches out to our readers in search for the best female directed horror films.