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UrbanObserver
Sunday 8th June 2025
Oxford's oldest independent student newspaper, est. 1920
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Spike Lee Doesn’t Have It
Imogen Edwards-Lawrence finds fault with the Netflix reimagining of Spike Lee's classic film
The Death of Stalin review – ‘it straddles that oh-so-narrow line between repellent and comic’
Christopher Goring enjoys the satire of Iannucci’s warped world behind the Iron Curtain
Poirot’s enduring appeal
Branagh’s Murder on the Orient Express reminds us why the detective remains so intriguing, writes Raffaella Sero
Adolescent queer love in ‘Call Me By Your Name’
Angelica De Vido finds the rich exoticism of Italy a perfect compliment to this tale of summer homoeroticism
A gendered rewatching of The Silence of the Lambs
25 years on, Clarice Sterling's defiance of the patriarchy is as relevant as ever
Makeover Montage
Why are we still in love with the makeover montage despite its flaws? Shamika Tamhane gets beneath the surface
In search of originality? Retreat into cinema’s monochrome past
It is a truth universally acknowledged that commercial filmmaking has recently entered a new phase of life. Countless articles and blogs bemoan the lack...
The Harvey Weinstein scandal has shone the spotlight on Hollywood’s institutional sexism
The disgraced film producer should mark a turning point in the film industry, writes Shivani Ananth
‘Blade Runner 2049’ pleases fans of the cult classic
Matthew Nicholson compares the 'Blade Runner' sequel to the classic original
Don’t just break the fourth wall, go and watch a film outside
Jack Allsopp reflects on a summer vac spent basking in the joys of outdoor cinema
Rewind: ‘My Big Fat Greek Wedding’ is still relevant 15 years on
Esther Borsi reflects on the romantic comedy classic on its anniversary
Society from a Martian perspective
Matthew Palmer makes the case for the significance of science fiction in today’s society
‘Kingsman’: The sequel’s disservice
Cinema's latest spy flick fails to charm Charles Britton
‘It’ review – the most purely entertaining horror movie of the year
Jonnie Barrow reviews the latest silver screen horror sensation
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