Brogan Morris

Lol never been more excited to announce a @distortedframe.bsky.social screening. 🛥️🍹📹

Even Tony Kushner Warned Steven Spielberg About Making ‘Munich’ Kushner—who cowrote the screenplay for Spielberg’s controversial, eerily prescient film about the Israeli-Palestinian conflict—recalls telling the director, “You do understand that we’re going to get ...

The depth and maturity that Tony Kushner has brought to some of Spielberg's best mid-late films is miraculous. Watch Munich again - it's the giddy dynamo behind Raiders (a film I love!) thoughtfully grappling with the whole Israel/Palestine thing, and for near three hours. www.gq.com/story/tony-k...

The Parallax View is bananas. The film has the visual grammar of fascist cinema, like Leni Riefenstahl herself is casting her diseased eye on America. Everything in the frame is so precisely ordered and massive that characters are overwhelmed, almost crushed by the cinematography (as is the viewer).

Incredible to rewatch The Parallax View in 2026, a year in which Hollywood is ruled by Trump supplicants, and be reminded that there was a time when American cinema not only engaged with the political moment, but it was actually distrustful and critical of US power.

Also that towards the end of the film, you see that the regime stooges recognise their guy is going completely mad, but they keep him around anyway because, insane or no, he's still the useful tool who'll do their evil bidding.

10 great political thrillers With The Secret Agent coming to cinemas and a Kathryn Bigelow season at BFI Southbank, we look at the tense, paranoid world of the political thriller and how filmmakers have used the genre to expose i...

To celebrate the upcoming release of The Secret Agent, I spent some time in the mad, paranoid world of the political thriller for the BFI. www.bfi.org.uk/lists/10-gre...

Watched this for the first time recently. A great film about how fascism happens because there are always people waiting in a society who are willing to do a state's terrible bidding; about those small people who can become important merely due to the fact that they will do whatever the regime asks.

I can't understand why the home of the buttoned-up Edgar Linton would be styled like a modern art nightmare. Why does the director make stylistic choices like that, beyond the fact that those choices look cool (and they do!)? I don't know if this makes EF's work good, but it's interesting!

It's a 'colourblind' Wuthering Heights where the dark-skinned romantic hero is made white; a class-conscious story where the poor protagonist is entirely fetishised, and the help (Nelly Dean) is made villainous; a wannabe erotic fantasy which features no nudity (and not that much sex).

I found Emerald Fennell's version...interesting. There's been a tension in all of her work to date because for every thought, every stylistic choice there is seemingly another thought, another choice that contradicts it. "Wuthering Heights" is a film full of opposing ideas and nonsensical style.

Andrea Arnold's Wuthering Heights remains the novel's truest adaptation If you want Emily Brontë, Wuthering Heights came to the screen in its best form 15 years ago thanks to Andrea Arnold.

I wrote about Andrea Arnold's Wuthering Heights, an imperfect adaptation (as all WH adaptations are) that gets closer to approximating Brontë's style and meaning than any other has. www.avclub.com/andrea-arnol...

And with hindsight, Arnold's an absolutely ideal match for Emily Brontë, in both form and content. Both speak (via their respective mediums) a similar language, a wild poetry, and as thematic concerns go there's a surprising amount of crossover. Article to follow.

Andrea Arnold didn't like the film, but watching her Wuthering Heights again now it looks like an (imperfect) adaptation which gets much, much closer to putting the book on screen than any other version has. My word, Robbie Ryan's cinematography for this... Elemental cinema vérité.

A new episode awaits so I thought I'd better hurry up and post this from the previous one! What dark forces are lurking within cyberspace? @lindsayhallam.bsky.social and Liam with special guest @broganjmorris.bsky.social cautiously take a peep at our haunted motherboards. rss.com/podcasts/sci...

Arriving right at the end of the year, Marty Supreme is the 2025 film I most look forward to revisiting. Every actor, from the top-billed cast to the extras, seems handpicked, while each character reads as so alive and complicated it feels like you could follow them into a film of their own.

They SHOULD be in the awards conversation, comedy is hard! Delivering the line "Fat bozo eating spaghetti" with a straight face is hard!

My contribution to the 2025 Sight and Sound critics' poll. Toyed with putting Bugonia in here instead of Harvest (which had the best film cinematography of 2025), and It Was Just an Accident would have made it in if I'd seen it in time, but you'll have to pry The Naked Gun from my cold, dead hands!

Happy to see someone else in this poll went for The Naked Gun. 🤝

If you're in London and free Tue 16 Dec for a FREE viewing of Sean Baker's Tangerine at The Castle Cinema in Homerton (Hackney), us good folks at @distortedframe.bsky.social have two tickets that we're giving away for FREE. First come first served, DM me if you're interested. 🍊🎄

If you're in London and free Tue 16 Dec for a FREE viewing of Sean Baker's Tangerine at The Castle Cinema in Homerton (Hackney), us good folks at @distortedframe.bsky.social have two tickets that we're giving away for FREE. First come first served, DM me if you're interested. 🍊🎄

It was either this or Elf: this festive season at Hackney's Castle, we'll be showing Sean Baker's Tinseltown fairytale Tangerine on its ten-year anniversary. Come on down, have a mulled wine, see a great film (the second best Xmas film ever, says The Guardian): thecastlecinema.com/programme/10...

Everyone is so great in this - they're bringing A game to B material - but Malkovich is so especially good, I can't help but feel that we're all worse off for him and the Coens never having collaborated again.

Where to begin with Lynne Ramsay With her fifth feature, Die My Love, now in cinemas, we track back through the uncompromising career of Scottish filmmaker Lynne Ramsay and her jagged tales of human complexity.

My primer on the films of Lynne Ramsay and all their sensational loneliness. www.bfi.org.uk/features/whe...

‘Such a tonic’: why Burn After Reading is my feelgood movie The latest in our series of writers remembering their most rewatched comfort film is a tribute to the Coens’ playful star-packed comedy

For my latest I sing the praises of Burn After Reading, one of the stupidest, most pointless films I've ever seen (in a good way). www.theguardian.com/film/2025/no...

Merry Christmas Eve, bitch: in our first ever festive slot, we're showing Sean Baker's anarchic breakout film Tangerine at The Castle in Hackney, 6:45pm Tue 16 Dec. What could be more appropriate to the season than 90 minutes of iPhone-shot chaos? 🎄 thecastlecinema.com/programme/10...

"World's first potential trillionaire has killed 600,000 people, including 400,000 children" is the only headline that anyone should ever read about Elon Musk

Dirty Computers - Colossus: The Forbin Project (1970) and Pulse (2001)

Thank you to @liamdunn82.bsky.social and @lindsayhallam.bsky.social for having me on the latest episode of @scifrightspod.bsky.social to discuss Colossus: The Forbin Project and Pulse, as well as AI, nuclear panic in the movies and the horror of early digital: open.spotify.com/episode/3vwp...

If you're free tomorrow evening and fancy a spooooky screening of J-horror classic Pulse at The Castle Cinema in Hackney, us good folks at @distortedframe.bsky.social have two tickets that we're giving away for free. First come first served, DM me if you're interested. 👻 😱

This has none of the breakneck energy you'd associate with the Safdies, little of the dark humour and grit; it's only really the street realism and casting of non-actors in principle roles that are carried over. Curious to see Marty Supreme to see if Josh got to keep that punk style in the divorce.

I can be sentimental, and moved by stories about good men in trouble. The Smashing Machine didn't floor me - it's too gentle for that - but its message of seeing value in learning to fail did get me pretty good. DJ's (very tender) performance will surprise only those who haven't seen Pain & Gain.