REVIEW: The Batman

After Ben Affleck stepped aside both in front and behind the camera, director Matt Reeves was left with the great challenge of completely rebooting Batman for the third time in twenty years. He’s opted for a darker and more realistic interpretation – in line with his work on the new Planet of the Apes films.

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REVIEW: Scream (2022)

The ‘legacy sequel’ – the new studio toy that hinges on cashing in on the old. Last year we had a sequel to the reboot of Halloween, the second attempt at rebooting Ghostbusters in five years, and even a return to The Matrix. The key is introducing a set of new characters that are intrinsically linked and probably very similar to the originals in some way, with those original characters key to the plot themselves – a plot that will create a façade of freshness without ever straying too far from the comforting formula. It’s an unoriginal and cynical trend, but it’s a trend that will reliably produce superficial but inarguable enjoyment: look at the plot of Spider-Man: No Way Home – Marvel knew exactly what they were doing and look at how successful they’ve been.

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REVIEW: Spider-Man: No Way Home

Spider-Man: No Way Home has just recorded the second-largest opening weekend at the US box office of all time (behind only Avengers: Endgame). Within just eight days of release, it’s not only become the highest grossing Spider-Man film, but also Sony’s highest grossing film ever – in the midst of a pandemic.

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The Last Duel and House of Gucci: Ridley Scott’s 2021

In a world of studio-filmmaking almost exclusively compiled of re-makes and an endless parade of superheroes and franchises, there’s something refreshing about The Last Duel and House of Gucci.

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All Too Well (10 Minute Version) – Taylor Swift’s Best Song Just Got Better

I have long believed All Too Well to be one of the greatest breakup songs ever written, but Taylor Swift undisputedly solidifies this status with nothing less than a ten-minute-and-twelve-second masterpiece.

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What the Flux? A Review of Doctor Who’s Highly Advertised Return

This Halloween, Doctor Who returned to our screens with its new series, simply titled ‘Flux’. The ambitious return introduced fans and casual viewers alike to new, as well as familiar faces – such as Weeping Angels and Sontarans. However, this author poses the question, how predictable will it be?

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Why haven’t you watched Bo Burnham’s ‘Inside’ yet?

Bo Burnham’s Inside presents an inspirational, self-deprecating, and unfortunately realistic view of the society we have created. It subtly conjures a sense of urgency in its audience to speak out and to act. It’s incredible how this artist has created such an impactful message that people are actually reacting to.

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REVIEW: Promising Young Woman

Female manipulator narratives have been a frequently visited theme within film for decades, from Kill Bill to Gone Girl and Fatal Attraction. We love to see a woman take power and set things right in the world, and Promising Young Woman will undoubtedly become the next classic within this genre.

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Local and Community History Month: The University of Leicester’s Wartime Origins

May 2021 is Local and Community History Month across the UK. Explore the University of Leicester’s rich and diverse history in relation to it’s wartime origins.

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“It feels very surreal”: interview with student author Tashie Bhuiyan

Publishing a book can seem surreal and unrealistic for a lot of students, a dream that they’ve maybe had since childhood. In recent years though, there seems to be an increase in students who have successfully written and published a book, with some even reaching the New York Times Bestseller list.

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Content houses: the business model turning the young, privileged and problematic into social media megastars

TikTok is everywhere. Even if you’re too stubborn to download the app itself, you probably will still have heard of the likes Addison Rae and Charli D’Amilio. Stars of the video-sharing app are making a name for themselves in the ‘real world’, and it’s safe to say that a noticeable amount of popular content creators belong to, or at least used to belong to, a content house.

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