Every second someone becomes a victim of a crime; a crime that can threaten irreversible damage and destroy lives. The suggested route of reparation is largely ineffective, but the alternative is infinitely more frightening. It is an easy feat, if not a moral compulsion, to judge the latter course of action, but it is perhaps the privilege of those who have never had to confront violence to disparage the power to resist.

Double-team style.

Every December, on the magical eve of collective financial ruin, mega-marketing corporations and advertising henchmen alike find a way to manipulate one and all into mindless, mass-consumerism. Alas, Christmas comes but once a year, the jolly holiday is eight long months away, and creme eggs don’t sell themselves. What to do? Well exploit Easter, of course, and monetise the hell out of the seasonal anthropomorphisms.

The book-to-film adaptation war wages on…

It’s a difficult thing not to get mired in the seriousness of social commentary when you have something particularly serious to say. Enter Louise-Michel, the absurdist story about social revolutionism, fiscal utopias and transgender-hitmen, and a film that delivers its sobering message with an indulgent dose of dark humour and sheer, unadulterated madness.

And not even Clash of the Titans can stop the Greco-onslaught.

The cult of Burton lures another willing victim…

If you choose to frolic with the idea of political extremism – whilst maintaining a reasonable degree of credibility – the undertaking should be informed, cautious and precise. Blooded is none of these things and consequently every bit as heedless and unjustified as the extremist ideology it claims to condemn.

And we still don’t get it.

In 1994 Wes Craven reclaimed the original slasher nightmare and helmed the final instalment in the franchised vision of terror – Nightmare on Elm Street. The outcome of Craven’s combined writing and directing efforts in this film – Wes Craven’s New Nightmare – was a vivid horrorscape of the unimaginable and an exercise in intelligent, disturbing inventiveness. 17 years later and My Soul To Take has summoned the cinematic corpse-monger back to the business of blood – but it’s a far cry from the slick-witted slice ‘n dicer – and this time the result may be more bed-time story than Nightmare…