Ben Wheatley makes the most out of his minimalist thriller filmed during the pandemic.
Mrs. de Winter can't escape the ghost of Rebecca and audiences won't be able to escape the ghost of Hitchcock.
Did we miss anything? Here are 10 films of the 2010s that our friend Phil Brown couldn't in good conscience allow to be left behind from That Shelf’s retrospective.
What are some of our favourite movies of 2013? We've cleared off some space on That Shelf for our 100 favourite movies of the decade. Here's our 2013 picks!
Director Ben Wheatley returns with his simplest and most purely entertaining effort to date
On the latest minisode of The Shelf, we have a really fun chat with Free Fire director Ben Wheatley.
Win passes for you and a guest to see FREE FIRE at the Calgary Underground Film Festival!
Win passes for you and a guest to see FREE FIRE in select Canadian cities!
Our Film Editor and Editor-in-Chief discuss the indies and blockbusters they're looking forward to in 2017.
Free Fire TIFF 2016 Review.
A self-contained, ultra-modern apartment building slowly descends into complete anarchy in High-Rise, an utterly bonkers adaptation that's certainly not for everyone, but is it for anyone?
High-Rise TIFF 2015 review
There’s absolutely no way that Ben Wheatley’s latest film A Field in England could ever be defined. It’s one of only a small handful of films that can adequately cover possibly every genre in film history and still find a way to dwell on the more bizarre genres.
We talk to British director Ben Wheatlely: the man behind Kill List, Sightseers, and this weekend's A Field in England (Oh, and a couple of upcoming Doctor Who episodes) about how he never makes the same film twice, his film’s sense of language, how he directs actors, working with his writer as a co-editor, and his thoughts on his own special kind of genre filmmaking.
A Field in England Wavelengths Director: Ben Wheatley The field in question of Ben Wheatley’s new film is quintessentially English: all chilled vegetation and smoky mist. In other words, it’s plenty bleak and disquieting without the aid of digital monochrome and arrhythmic editing. But it certainly helps, and A Field in England plays its spare […]