In dealing with the themes of arranged marriages and honour killings in the Asian community, Shan Khan's 2014 directorial debut mines similar territory as Daniel Wolfe's superlative Catch Me Daddy from the same year, albeit at the more mainstream end of the market.

Whilst Honour has some really strong moments, the film is ultimately marred by a rather pointless and needlessly non linear structure that serves to alienate its audience and keep the story and its emotional punch at arm's…

I must confess that my interest in I Confess waned when Hitchcock moved away from the premise of moral complexity pertaining to the sanctity of the confession, and on to the cliche of the newly ordained priest's previous love affair with a woman (Anne Baxter) who still holds a torch for him despite being married to another man. But I guess Hitch's hands were tied to some extent by the original source material (a 1902 French play) and because he…

My word.

What an amazing film.

Firstly if you're a nerd for the aesthetics of film, you'll love it. The 70s setting, the Giallo references are all perfect that you don't think of it as a present day film set in the 70s, this could be a lost forgotten 70s film.

Secondly, if you're a nerd for the mechanics of film, the technology, you'll REALLY love it.

I belong in the former camp really but this film has really given…

It's quite ironic that Elizabeth Moss understands High-Rise enough to take a role in it, yet fails to see the comparison with the 'faith' she belongs to; Scientology. Think about it, the fantastical vision of one prejudiced, difficult man that capitalises on the ambitions, aspirations and elitist yearnings of the public who immerse themselves so deeply into his dream that they fail to see how much the rot has set in. Genuinely, think about it, because she clearly didn't.

Anyway....…