David Hare’s latest play “I’m Not Running” lacks his characteristic wit, instead subjecting its audience to a dull and confused evening of fantasy politics.
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Review: I’m a Phoenix, Bitch (Battersea Arts Centre)
Legendary performance artist Bryony Kimmings returns with a brave and exhilerating solo show examining her recovery from postnatal breakdown.
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Singles of the Week
After our extended summer break, we’re back with a vengeance. Check out what singles have been getting the Panoptic team grooving to recently with a FIFA tune, a lovely little piece by dodie, and shift in style by LOYAL, all featuring this week.
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Review: The Malady Of Death (The Barbican)
The Malady of Death, Alice Birch and Katie Mitchell’s arresting new piece of Live Cinema, arrives at the Barbican and leaves a striking impression.
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London Film Festival 2018: Assassination Nation
Not quite softcore exploitation horror but not quite a rallying feminist cry either, Sam Levinson’s femme-fatale-led piece fails to pull out all the stops as promised – mostly because it doesn’t seem to know where the stops are in the first place.
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Nine Alternative Theatre Openings for October
Nine of the weirdest, most exciting shows opening in London this October, as chosen by our Theatre Editor.
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London Film Festival 2018: Border
True to its tagline, John Ajvide Lindqvist’s new screenplay is indeed “a love story unlike any other” in certain senses – but on the other side of the coin, it is a wholly predictable and often misguided whodunit thriller just like every other.
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London Film Festival 2018: May The Devil Take You
Too many cooks spoil the broth, and so do too many clichés – May The Devil Take You is brilliant on occasion, but mostly plays out as an inane, muddled collection of multicultural jumpscare ideas connected by a thinly-drawn plot.
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London Film Festival 2018: School’s Out
Loaded with enough intrigue to make you think yourself into a corner, School’s Out ramps up the dread at every turn, up to its (literally) explosive climax.
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London Film Festival 2018: Wildlife
Carey Mulligan and Ed Oxenbould gamely shoulder the hefty emotional weight of Paul Dano’s directorial debut, supported by an underused but nonetheless brilliant Jake Gyllenhaal.
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