Wednesday 15th October 2025

Film

Spike Lee’s lackluster remake: Highest 2 Lowest

There is no reason why a remake should remain inferior to its source material; even less so when it’s a ‘reinterpretation’ by an auteur as opposed to a cynical...
Culture Matthew Mair -

The Librarians (2025) at the Bodleian: reviewed

Kim A. Snyder’s The Librarians (2025) draws the audience into a pernicious web of...
Culture Abigail Lakeland -

Hoa hoa hoa season: An analysis of the small town aesthetic

“In the state of Washington, under a near constant cover of cloud and rain,...
Culture Eve Richardson -

A guide to contemporary China, through cinema

“An artwork whose medium is history”, is how sinologist Haun Saussy defines China. As passionately...
Culture Zac Yang -
Latest

Nosferatu: From Murnau to Eggers

Over one hundred years since its first screening, F.W. Murnau’s Nosferatu: A Symphony of Horror (1922) is not as terrifying as it once was,...

The Ultimate Picture Palace: A Profile

The Ultimate Picture Palace has been at the forefront of Oxford’s cinema scene for over a century. First opening in 1911, under the enthusiastic...

Maria – Pablo Larraín’s grab at ‘high art’

Countless documentaries have been made, and even more biographies published on the life of Maria Callas (1923-1977). She has become a mythical woman upon...

“Wait and Hope” – The Count of Monte Cristo: Review

The Count of Monte Cristo premiered at the Cannes Film Festival in 2024 to little fanfare. However, it turned out to be a stunning...

The Globes and what we’re getting wrong

“Thirty years ago,” Demi Moore told a wildly enthusiastic Golden Globes audience, “I had a producer tell me that I was a ‘popcorn actress’...

Cherwell Film Editors Must-See Pictures of 2024

Cherwell’s Film Section Editors decided to get together and review their favourite releases of 2024. Ranging from animation to drama, these are the Editors’...

Has the modern movie musical lost its magic?

As I begin writing, my parents have just walked through the door having finally experienced the cultural phenomenon that is Wicked (2024). My mother...

Gladiator II: A lack-lustre return to Rome

With Gladiator II, Ridley Scott returns to the streets of imperial Rome not in triumph, but to decidedly muted applause.

Review: The Outrun

The Outrun Review: Choosing recovery in a wild place

Blood is compulsory: The films of Martin McDonagh

In these uncertain times, his films speak to us more than any traditional morality tale could.

Papicha, power, and cinematic patriotism

How can we say that Papicha is Algerian, if the film was banned without any explanation in the country shortly before its release?

Review: Beetlejuice, Beetlejuice

Burton’s famous gift for mixing the dark and eerie with the fun and satirical shines through once again.

Oxford Horror Soc, un-earthed

The Oxford Horror Soc, led by Izzy Reese, is Oxford’s first and only society dedicated to the on-screen horror genre.

Review: Joker: Folie à Deux

Joker: Folie a Deux is ultimately too disjointed and unnecessary to win Oscars or make headlines.

The Graduate took on generational divides

From its start, The Graduate shows its audience that Ben is alienated from the older generations. At the party his parents throw to celebrate...

Dame Maggie Smith’s Oxford beginnings, from Mansfield to McGonagall

Now nearly a month since the news of the actress’ death, aged 89, we can reflect on Smith’s extraordinary career and her connections to the city that started it all. 

Review: Will Heaven Fall on Us? A Béla Tarr Retrospective

Will Heaven Fall on Us? A Béla Tarr Retrospective, which aired in cinemas this summer, confirms the status of the Hungarian director as an...

Has the romantic comedy lost its charm?

The romantic comedy genre is often criticised for its overreliance on tropes. The romcom is, after all by, designed to be light and fun....

Film around the world: Japan’s Harakiri

It is not The Godfather or The Shawshank Redemption or any Hollywood epic that is the highest rated film on the app ‘Letterboxd’ (a...

Denis Villeneuve’s Dune

In 1984, shortly after the epic finale to the (original) Star Wars trilogy was in theatres, David Lynch’s Dune treated audiences to, in the...
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