Posts Tagged Classic Film

Culture Vulture 6th–12th June 2026

June 6, 2026 at 8:52 am · Filed under Film & DVD Reviews, ITVX, LGBT+interest, Netflix, TV Shows ·Tagged , , , ,

The countdown to the World Cup continues, and football runs through this week’s selections like a thread stitched into the cultural fabric. From 1966: The World Cup Final in Colour and Lionesses: How Football Came Home to Gareth Southgate’s thoughtful exploration of modern masculinity and Kevin Bridges’ search for the soul of the beautiful game, television seems determined to remind us why football remains far more than a sport. It is memory, identity, aspiration and sometimes national therapy.

Away from the pitch, there is plenty to tempt the curious viewer. Ken Loach reflects on a lifetime spent chronicling working-class Britain, Steven Spielberg offers perhaps his most personal film in The Fabelmans, while science fiction enthusiasts are spoiled with everything from Blade Runner 2049 and Ex Machina to documentaries tracing the genre’s history from Mary Shelley to Isaac Asimov. Add in ancient Greece, Constantine the Great, James Dean, Clint Eastwood, Billy Idol and Muhammad Ali, and the result is one of the most varied weeks of the year so far.

As always, Culture Vulture’s aim is not simply to recommend programmes but to encourage exploration. The best television and cinema take us somewhere unexpected. This week, whether that journey leads to a football stadium, a distant galaxy, an Alpine village or the Roman Empire, there are plenty of worthwhile destinations.

Saturday 6th June

The Longest Day (1962) – Film4, 1:10pm

There’s a kind of architectural grace to The Longest Day — a film built not for spectacle but for endurance. Every sequence feels placed with deliberation, every perspective a brick in a vast, collective structure. It doesn’t chase emotion; it constructs it, piece by piece, until the enormity of D‑Day becomes something you can inhabit rather than merely watch.

What’s remarkable is its refusal to narrow the lens. Instead of a single hero’s journey, we get a mosaic of nationalities and motives, each fragment carrying its own rhythm. The film’s scale becomes human precisely because it’s broken into smaller, comprehensible acts — soldiers crossing fields, commanders weighing impossible decisions, civilians caught in the undertow of history.

Shot in stark black and white, it has the clarity of reportage. There’s no glamour in the mud, no romanticism in the chaos. Even the grand set‑pieces feel matter‑of‑fact, as if the camera were recording rather than interpreting. That restraint gives the film its moral weight: it honours the event by refusing to simplify it.

What lingers is the design — the sense that you’re watching not just a film but a reconstruction of memory itself. It may lack the visceral immediacy of modern war cinema, but its precision and quiet authority have aged beautifully. The Longest Day endures because it understands that history, like architecture, is built to last.

Prometheus (2012) – 5Star, 9:00pm

Few films divide opinion quite as consistently as Prometheus, and perhaps that is part of its appeal. It is a work that reaches, sometimes beyond its grasp, but always with an evident seriousness of intent. Ridley Scott returns to a universe he helped define, yet seems determined not to repeat himself.

What emerges is less a horror film than a meditation—albeit an uneasy one—on origins and belief. The questions it raises are large, almost unwieldy: who made us, and why? And more importantly, what does it mean if the answers are not comforting?

Visually, it is often extraordinary. Scott’s control of space, light and texture transforms even the simplest scenes into something imposing. The environments feel simultaneously alien and strangely recognisable, reinforcing the film’s central unease.

Yet the narrative resists coherence at times. Characters behave unpredictably, motivations blur, and the plot occasionally strains under the weight of its ideas. But even these flaws feel oddly consistent with the film’s ambition—it is less interested in tidy storytelling than in provocation.

For all its imperfections, Prometheus remains compelling. It is a film that invites interrogation rather than passive viewing, and that alone makes it worth revisiting.

Bohemian Rhapsody (2018) – Channel 4, 9:00pm

At its core, Bohemian Rhapsody is not a biography in the strict sense, but a celebration—one that occasionally sacrifices nuance for momentum. It moves briskly through familiar milestones, selecting moments that reinforce its central narrative of rise, fall and triumphant return.

Where it falters, it does so through simplification. Complex relationships are streamlined, tensions softened, contradictions smoothed over. But the film seems unconcerned with precision. Its priorities lie elsewhere.

Those priorities become clear in its musical sequences. Here, the film shifts register entirely, allowing performance to take precedence over narrative. The energy becomes infectious, the pacing more assured, the purpose more focused.

The Live Aid reconstruction is the culmination of that approach. Meticulously staged and emotionally calibrated, it is less a re-creation than a kind of cinematic homage. It works not because it is perfect, but because it understands what the moment represents.

In the end, it is a film that succeeds through feeling rather than detail. And while it may not satisfy every expectation, it is difficult to deny its impact.

Vermiglio (2024) – BBC Four, 9:20pm

Vermiglio unfolds with remarkable patience, allowing its world to emerge gradually rather than assert itself. Set within an isolated mountain community, it captures not just a place but a way of life that feels quietly on the verge of transition.

The pacing is deliberate, almost meditative. Moments are allowed to breathe, conversations linger, silences carry weight. There is little sense of urgency, yet a subtle tension runs beneath the surface.

Visually, the film is striking in its restraint. The landscape is not presented as spectacle, but as presence—constant, watchful, shaping the lives within it. Interiors are equally carefully composed, each frame suggesting relationships before they are spoken.

What gives the film its depth is its attention to detail. Small gestures, fleeting glances, everyday routines—these become the building blocks of something much larger. It is observation elevated into storytelling.

By its conclusion, Vermiglio does not so much resolve as settle. It leaves behind an impression rather than a statement, and that impression stays with you.

Blade Runner 2049 (2017) – BBC One, 10:20pm

Sequels often struggle under the weight of expectation, but Blade Runner 2049 approaches its inheritance with unusual confidence. Rather than attempting to replicate the original, it expands upon it—both visually and philosophically.

Villeneuve’s direction is precise, almost measured. Scenes unfold with a calm assurance that allows the ideas to surface naturally. There is no rush to explain, no urgency to conclude. The film trusts its audience.

Visually, it is extraordinary. Every frame feels composed, every environment carefully realised. The scale is vast, yet the focus remains intimate. This balance between spectacle and introspection is rare, and here it is sustained throughout.

Thematically, it deepens the original’s concerns with identity and memory. What does it mean to be human? And perhaps more intriguingly, what does it mean to believe that you are?

There is a quiet melancholy running through the film, a sense of distance that never fully resolves. It gives the narrative its emotional core, even when the plot becomes secondary.

The result is a sequel that feels both respectful and independent—a continuation that justifies its own existence.

BlackBerry (2023) – Channel 4, 11:35pm

BlackBerry approaches its subject with an unexpected lightness of touch. What might have been a straightforward corporate drama instead becomes something more agile—part satire, part character study, part cautionary tale.

The story of rapid ascent is handled with energy. Innovation, ambition and a certain degree of naïveté drive the early stages, creating a sense of inevitability that feels almost exhilarating.

Then, almost imperceptibly, the tone begins to shift. Success becomes pressure, growth becomes instability, and the cracks begin to show. The transition is gradual, which makes it all the more convincing.

Performance plays a central role here. The characters are drawn with enough specificity to feel real, yet broad enough to capture the wider themes. There is humour, but also tension.

What the film ultimately captures is not just the rise and fall of a company, but the fragility of success itself. It is as much about timing as it is about innovation.

Sunday 7th June

Cat on a Hot Tin Roof (1958) – BBC Two, 1:00pm

Adapted from Tennessee Williams, the film retains much of the play’s theatrical intensity while opening it out just enough for the screen. The result is a chamber piece charged with emotional pressure.

The performances are central. Elizabeth Taylor and Paul Newman bring a volatile chemistry that never quite settles. Their exchanges carry a sense of unfinished business, of things left unsaid.

Beneath the surface lies a network of tensions—family, identity, expectation—that never fully resolve. The film thrives on this instability.

Dialogue does much of the work, but it is supported by careful staging and pacing. Scenes are allowed to unfold without interruption, creating a sense of accumulation.

It is a film that operates as much in what it withholds as in what it reveals.

The Beautiful Game (2024) – Channel 4, 3:35pm

Football provides the framework, but the film’s interests lie elsewhere. It uses the sport as a means of exploring dignity, resilience and the possibility of redemption.

The narrative is straightforward, but effective. Each character brings a different perspective, allowing the themes to emerge organically rather than being imposed.

There is a warmth to the storytelling that carries it through its more predictable moments. It never feels cynical, even when it leans towards sentiment.

Visually, it keeps things grounded. The emphasis remains on people rather than spectacle.

By the end, it is less about victory than about recognition—of self, of worth, of possibility.

Unforgiven (1992) – BBC Two, 10:45pm

Unforgiven dismantles the mythology of the western with quiet precision. It does not reject the genre outright, but it questions its assumptions at every turn.

Eastwood’s performance is central to that process. His character carries the weight of history—both personal and cinematic. Every action feels deliberate, considered.

Violence is presented without glamour. Its consequences are immediate and lasting, stripping away any sense of heroism.

The film’s pacing reflects its themes. It moves slowly, allowing tension to build without release.

What remains is something far more complex than a traditional western. It is a reflection on memory, regret and the stories we tell ourselves.

The Damned United (2009) – BBC One, 11:30pm

At first glance, it looks like a football film — the dugouts, the touchline fury, the familiar choreography of triumph and disaster. But The Damned United is really something narrower and far more revealing: a character study disguised as a sports drama. Brian Clough isn’t presented as a legend in waiting but as a man caught between swagger and self‑doubt, ambition and insecurity. The film is less interested in what he won than in what it cost him to want it so badly.

Michael Sheen captures that contradiction with unnerving precision. His Clough is magnetic one moment and brittle the next, a man who performs confidence because he cannot bear to show how fragile he feels underneath. Sheen plays him as someone who needs the room to love him but fears the moment they stop. It’s a performance built on tension — the kind that flickers behind the eyes rather than erupts in speeches.

The film’s structure helps enormously. By focusing on a single, disastrous chapter of Clough’s career, it avoids the sprawl of the traditional biopic. Instead, it becomes a study in pressure: the Leeds job as crucible, as mirror, as trap. The narrowness gives it clarity. We’re not watching a life; we’re watching a moment that defines one.

There’s humour here — sharp, needling, often at Clough’s expense — but it’s threaded with discomfort. The film refuses to indulge in easy admiration. It understands that charisma can be corrosive, that brilliance can shade into self‑destruction, and that the line between confidence and delusion is thinner than most of us would like to admit.

In the end, The Damned United is as much about failure as success, and that’s what makes it compelling. It’s a portrait of a man who wanted greatness so fiercely that he almost broke himself chasing it — and a reminder that sometimes the most interesting stories are the ones where things fall apart.

Monday 8th June

Bridge of Spies (2015) – Film4, 8:00pm

Spielberg treats the Cold War not as spectacle but as moral geometry — a landscape of lines, boundaries and quiet negotiations. The film moves with deliberate calm, its tension drawn from the spaces between words rather than the explosions that usually define the genre. It’s a story about decency under pressure, and the courage required to remain ordinary when the world demands extremes.

Tom Hanks anchors it with a performance of quiet conviction. His character, James Donovan, is not a man of grand gestures but of steady principles. In a world of paranoia and posturing, his restraint becomes radical. Hanks plays him as someone who believes that fairness is not naïve but necessary — that the law, even when inconvenient, is the last defence against chaos.

Visually, the film is composed like a negotiation itself: muted tones, careful framing, the chill of divided Berlin rendered with painterly precision. Spielberg’s camera doesn’t shout; it listens. Every shot feels weighed, every silence deliberate. The result is a film that trusts its audience to feel the gravity of diplomacy without the need for spectacle.

All of Us Strangers (2023) – Channel 4, 10:00pm

All of Us Strangers moves like a dream you’re not entirely sure you want to wake from — drifting between memory, imagination and lived experience with a kind of emotional weightlessness. It resists the usual scaffolding of narrative, choosing instead to follow the currents of feeling: uncertain, searching, unresolved. The film’s pacing mirrors its themes, as if time itself were hesitating.

The performances carry the film’s emotional charge. There’s a vulnerability here that never feels engineered — a kind of openness that allows the smallest gestures to land with surprising force. Andrew Scott, in particular, plays grief as something porous, a state that leaks into everything without ever announcing itself.

Relationships are drawn with unusual care. Nothing is simplified, nothing forced into neat arcs. Instead, the film allows complexity to emerge gradually, like a photograph developing in slow motion. The connections feel fragile but real, shaped as much by what is unsaid as by what is spoken.

Visually, the film walks a delicate line between realism and abstraction. Interiors glow with a soft, uncanny warmth; exteriors feel slightly out of reach, as though the world were being remembered rather than observed. It’s a film that understands how memory distorts even as it preserves.

All of Us Strangers doesn’t tie its threads together; it lets them drift, trusting that the audience will feel the shape of what can’t quite be articulated.

Tuesday 9th June

The Fabelmans (2022)

Film4, 9:00pm

Spielberg turns the camera on himself — or at least on the emotional terrain of his childhood. The Fabelmans is a film about the birth of an artist, but also about the fractures and loyalties of family life. It’s tender, painful, funny and occasionally startling in its honesty. What makes it so affecting is the way Spielberg balances the mythmaking of cinema with the messiness of real life. The film understands that art can be both an escape and a reckoning.

The performances are uniformly superb. Michelle Williams gives one of her finest turns as a woman torn between duty and desire, while Paul Dano brings quiet, heartbreaking dignity to a father who cannot quite understand the world his son is entering. The film’s emotional centre, though, is Gabriel LaBelle, who plays the young Spielberg with a mixture of vulnerability and fierce creative instinct.

What lingers is the film’s generosity. Even when depicting pain, it refuses to be cruel. It is a work of memory — imperfect, selective, but deeply felt. A late‑career masterpiece.

Muhammad Ali Night

BBC Four, from 10:00pm

A portrait of a man whose influence extended far beyond sport. Ali remains one of the most charismatic figures of the 20th century, and the documentaries capture both his brilliance and his contradictions. The programmes avoid hagiography, instead presenting a man who was equal parts poet, fighter, activist and showman.

Brexit: A Very British Civil War (Part Two)

BBC Two, 11:00pm

The conclusion of a story that continues to shape British public life. The documentary is clear‑eyed without being cynical, tracing the political and cultural fractures that remain unresolved.

Science Fiction in the Atomic Age: Mary Shelley to Isaac Asimov

Sky Arts, 11:00pm

A quietly absorbing journey through the roots of a genre that has always doubled as a cultural pressure gauge. What the programme understands — and articulates beautifully — is that science fiction isn’t really about the future at all. It’s about the present: the fears we can’t name, the hopes we barely admit, the technologies we suspect might outgrow us.

Tracing a line from Frankenstein to Foundation gives the documentary a pleasing sweep. Mary Shelley’s gothic anxiety about creation and responsibility sits surprisingly comfortably beside Asimov’s cool, rational visions of robotics and empire. The programme treats these works not as curiosities but as milestones in our evolving relationship with science — each one a marker of what humanity was afraid of, or yearning for, at a particular moment.

What makes it compelling is its refusal to flatten the genre into a single narrative. Instead, it shows how science fiction has always been a conversation: between writers and readers, between imagination and technology, between dread and possibility. The Atomic Age becomes a kind of crucible, where fear of annihilation and excitement about progress coexist uneasily.

By the end, you’re left with a sense of continuity — that the questions Shelley posed in the 19th century are still with us, simply wearing new clothes. The documentary doesn’t try to answer them. It just reminds us why we keep asking.

Terminator 2: Judgment Day (1991)

ITV1, 11:00pm

Terminator 2 remains one of those rare sequels that doesn’t just outdo its predecessor — it redefines the terrain entirely. What James Cameron achieves here is a kind of muscular elegance: action cinema engineered with the precision of a machine and the emotional pulse of something unmistakably human. The film moves with propulsive force, yet never feels rushed; every set‑piece is earned, every beat calibrated.

What surprises, even now, is the emotional undercurrent. Beneath the molten steel, the chases, the relentless forward motion, there’s a story about connection — unlikely, fragile, and all the more affecting for it. Arnold Schwarzenegger’s T‑800, once a symbol of implacable threat, becomes a study in programmed compassion, while Linda Hamilton’s Sarah Connor is transformed into something fierce, haunted and utterly compelling.

Visually, the film still feels astonishingly modern. The liquid‑metal T‑1000 remains one of cinema’s great creations, not because of the effects alone but because of the cold, unsettling grace with which it moves. Cameron understands that technology is most frightening when it feels inevitable.

More than three decades on, T2 hasn’t lost its edge. It’s still the benchmark — the film that proved action cinema could be thrilling, intelligent and unexpectedly tender, all at once.

Mean Streets (1973)

Film4, 11:55pm

Mean Streets still feels like a live wire — raw, restless, and vibrating with the energy of a filmmaker discovering his voice in real time. Scorsese’s breakthrough isn’t polished; it isn’t meant to be. It moves with the jittery rhythm of the neighbourhood it depicts, a world where loyalty is currency and guilt is a constant, unpayable debt. You don’t watch it so much as get pulled into its orbit.

Harvey Keitel’s Charlie is the film’s uneasy centre of gravity, a man trying to balance faith, obligation and the gravitational pull of old streets that refuse to let him go. He’s torn between the life he wants and the life he owes — a tension Scorsese renders with a kind of bruised tenderness. Charlie’s moral compass spins, but never quite settles.

Then there’s De Niro’s Johnny Boy, a performance that still feels dangerous. He’s chaos in a leather jacket — charming, reckless, infuriating, and impossible to ignore. The chemistry between Keitel and De Niro is electric, the kind that suggests a lifetime of shared history even when the script leaves it unspoken.

What gives the film its enduring power is its authenticity. Scorsese isn’t mythologising the streets; he’s remembering them — the bars, the debts, the rituals of masculinity, the way violence can erupt from nothing and return to nothing just as quickly. It’s a portrait of a community that traps as much as it sustains.

Half a century on, Mean Streets still crackles. It’s messy, alive, and utterly sincere — a film that understands how hard it is to leave the places that shaped you, even when you know you should.

Wednesday 10th June

Constantine the Great

PBS America, 8:50pm

History on an epic scale as the life of the Roman emperor unfolds. The documentary traces Constantine’s rise with clarity and sweep, showing how one man’s political instincts and religious convictions reshaped the ancient world. It’s a reminder that empires turn on personalities as much as armies.

Riddick (2013)

Sky One, 9:00pm

Riddick is the franchise stripped back to its sinew — no prophecy, no operatic world‑building, just a man, a hostile planet and the stubborn will to outlive whatever wants him dead. It’s a return to the lean, survivalist instincts that made the character compelling in the first place. The film moves with a kind of simplicity, as if clearing its throat after the bloated mythology of Chronicles.

Vin Diesel slips back into the role with the ease of someone putting on a well‑worn jacket. His Riddick is still all gravel and glare, but there’s a sharper edge here — a sense of calculation beneath the brute force. The film gives him room to be cunning rather than merely indestructible, and that shift makes the action feel more grounded, more earned.

The setup is classic pulp: abandoned on a sun‑scorched world, hunted by mercenaries who underestimate him, and stalked by creatures that definitely don’t. But the execution has a pleasing clarity. Director David Twohy knows exactly what kind of film he’s making — a survival thriller with sci‑fi trimmings — and he doesn’t clutter it with unnecessary lore.

What emerges is a story that feels oddly refreshing in its directness. No grand destinies, no cosmic stakes, just a man trying to stay alive long enough to get off the rock he’s been left on. It’s not profound, but it is satisfying — a reminder that sometimes the most effective sequels are the ones that remember what worked in the first place.

Ken Loach Remembers

BBC Four, 10:05pm

A reflective, moving look back at a career spent chronicling working‑class Britain. Loach speaks with the clarity and compassion that have defined his work for decades. There’s a sense of summing up here — not nostalgia, but a quiet reckoning with the stories he felt compelled to tell.

The Old Oak (2023)

BBC Four, 10:20pm

The Old Oak feels like a final note held just a little longer than expected — quiet, steady, and full of the moral clarity that has defined Loach’s career. Set in a former mining town hollowed out by decades of loss, the film watches what happens when a community already on its knees is asked to absorb even more change. There’s no sentimentality here, just the hard, necessary work of people trying to live alongside one another.

Loach treats migration not as a political talking point but as a human encounter: awkward, fraught, hopeful, and often tender in ways that catch you off guard. The pub at the film’s centre becomes a kind of pressure chamber, a place where old grievances and new possibilities collide. It’s a setting Loach understands instinctively — the last communal room in a town that has lost almost everything else.

What gives the film its quiet power is its belief in connection. Not easy connection, not the tidy kind that resolves itself by the credits, but the slow, fragile kind built through shared meals, shared stories, and the recognition of mutual struggle. Loach has always been at his best when he shows solidarity not as a slogan but as a practice, and The Old Oak is steeped in that sensibility.

As a final chapter, it feels right. Not triumphant, not despairing — simply honest. A filmmaker taking one last look at the people he has spent a lifetime championing, and offering them, and us, a measure of hope.

Witches: Truth Behind the Trials

National Geographic, 10:00pm

An examination of fear, power and one of history’s most enduring moral panics. The documentary digs into the social and political forces that fuelled witch trials, showing how hysteria becomes a tool for control.

Up the Junction

BBC Four, 12:25am

Up the Junction still lands with the force of something freshly made — raw, unvarnished, and unwilling to soften its edges for comfort. It’s one of those rare pieces of television that feels like a rupture, a reminder of just how radical British TV once dared to be. The film’s honesty is almost abrasive: no sentimentality, no tidy resolutions, just the lived reality of working‑class women navigating a world that offers them little and judges them for taking even that.

What makes it endure is its refusal to look away. The performances have a documentary immediacy, the kind that makes you forget you’re watching actors at all. The social commentary isn’t delivered as message but as experience — embedded in the rhythms of daily life, the choices constrained by circumstance, the quiet tragedies that accumulate.

Half a century on, its power hasn’t dimmed. If anything, its clarity feels sharper now, a reminder of a time when television didn’t just reflect society but confronted it.

Thursday 11th June

The Making of King Arthur

BBC Four, 8:00pm

A thoughtful exploration of Britain’s most enduring legend — part history, part myth, part national mirror. The programme traces how Arthur has been reinvented across centuries, reflecting the hopes and anxieties of each era.

James Dean: The Emotional Man

Sky Arts, 9:00pmA portrait of a performer who seemed to burn from the inside out. James Dean’s career was brief enough to feel like a flash, yet the emotional afterglow has lasted decades — a mixture of youthful intensity, unresolved longing and that strange, magnetic vulnerability that made him look both invincible and breakable at the same time.

The documentary leans into that duality. It doesn’t try to tidy him into a myth, nor does it pretend the myth isn’t part of the story. Instead, it traces the tension between the boy he was, the man he was becoming, and the icon the world insisted on making him. You feel the fragility beneath the swagger, the ache beneath the cool.

What emerges is a study in contradictions: a performer who seemed to reveal everything while giving almost nothing away; a symbol of rebellion who was, in many ways, searching for connection; a star whose brief life became a template for a certain kind of cinematic longing.

It’s a reminder that some figures endure not because they were fully understood, but because they never quite were. Dean remains one of them.

Constantine the Great (Part Two)

PBS America, 8:35pm

The concluding chapter follows the emperor’s creation of Constantinople and the reshaping of an empire. A sweeping end to a story that still echoes through European history.

Ex Machina (2014)

Film4, 10:45pm

Ex Machina still feels like a shard of ice slipped under the skin — sleek, controlled, and quietly unnerving. Alex Garland builds his story with the precision of a psychological trap, letting tension accumulate in the pauses, the glances, the silences that stretch just a little too long. It’s science fiction pared back to its essentials: intelligence, power, desire, and the dangerous spaces where they overlap.

Oscar Isaac gives the film its swaggering volatility, a tech‑messiah with a god complex and a taste for manipulation. Alicia Vikander, by contrast, is all poise and ambiguity — a performance so finely calibrated you’re never entirely sure where the machine ends and the person begins. Their scenes hum with a kind of electric unease.

Visually, the film is immaculate. Glass, concrete, soft light, and the sense that every surface is observing you. Garland uses the environment like a second script, a place where transparency becomes its own form of menace.

And then there’s the final act — cold, precise, inevitable. It lands not with shock but with the quiet, devastating logic of a conclusion you should have seen coming all along.

Arena: Clint Eastwood – Out of the West

BBC Four, 11:05pm

A portrait of one of Hollywood’s last great auteurs — a filmmaker whose career spans genres, decades and cultural shifts. The documentary is affectionate without being fawning.

Clint Eastwood: American Filmmaker

BBC Four, 12:05am

The second part of an excellent Eastwood double bill, tracing the evolution of a director who has always been more complex than his public image suggests.

Little Richard: I Am Everything (2023)

Channel 4, 1:55am

A blast of colour, noise and unapologetic self‑invention, Little Richard: I Am Everything is as flamboyant and furious as the man himself. The documentary refuses to sand down the contradictions — the joy, the rage, the brilliance, the lifelong tug‑of‑war between identity and expectation. It understands that Little Richard didn’t just help invent rock and roll; he detonated it, reshaping the cultural landscape with a scream, a shimmy and a streak of eyeliner.

What the film captures so well is the emotional voltage behind the performance. The joy is real — ecstatic, liberating — but so is the fury, the sense of someone fighting to claim space in a world determined to shrink him. The archival footage crackles, the interviews deepen the portrait, and the whole thing moves with the rhythm of a man who refused to be quiet.

It’s vibrant, defiant, and impossible to ignore — just like Richard himself.

Friday 12th June

Hunting the Debt Predators

Channel 4, 8:00pm

Investigative journalism at its most urgent. A look at those who profit from financial hardship — and the people fighting back. The programme is angry, clear‑eyed and necessary.

Queer (2024)

BBC Two, 11:00pm

A bold, jagged adaptation of Burroughs that refuses to smooth the edges of the source material. Queer moves with a kind of raw, intimate unease — a film that sits inside longing, self‑loathing and desire without trying to tidy any of it into catharsis. It feels both anchored in its period and strangely unmoored from time, as if the emotional landscape hasn’t changed as much as we’d like to think.

The film leans into the book’s nervy, uncomfortable honesty. Relationships are sketched in quick, piercing strokes; the vulnerability is palpable but never overstated. What emerges is a portrait of a man circling his own loneliness, reaching out and recoiling in the same breath.

Visually, it balances grit with a kind of feverish lyricism — realism shading into hallucination, memory bleeding into the present. It’s a film that trusts atmosphere as much as narrative.

The result is unsettling, intimate, and quietly devastating. It doesn’t seek resolution; it simply sits with the ache.

Queen & Slim (2019)

BBC Two, 1:10am

Queen & Slim unfolds like a modern myth written on the move — a road movie where romance, tragedy and political urgency are braided so tightly they become inseparable. It starts quietly, almost tentatively, then gathers emotional force until it hits with the weight of something inevitable.

What makes it so powerful is the intimacy at its core. The relationship grows in the spaces between danger, in the glances and hesitations, in the way two people learn to trust each other while the world closes in. The film never rushes that connection; it lets it breathe, deepen, complicate.

Visually, it’s striking — bold compositions, saturated colours, a sense of America as both vast and claustrophobic. The landscapes feel mythic, yet the violence and injustice that shape the journey are painfully real.

By the end, the film leaves you with a mixture of ache and awe. It’s a love story, a protest and a lament.

Streaming Choice

Michael Jackson: The Verdict (Netflix)

All three episodes available from Wednesday 3rd June

A forensic, often uncomfortable examination of one of the most scrutinised trials in modern pop‑culture history. The documentary avoids sensationalism, instead laying out the legal, cultural and media forces that shaped the case. It’s sober, detailed and designed to provoke reflection rather than deliver easy answers.

USA 94: Brazil’s Return to Glory (Netflix)

Available from Sunday 7th June

A richly assembled look back at one of the World Cup’s most emotionally charged triumphs. The documentary captures both the tactical evolution of the Brazilian side and the wider cultural moment that surrounded their victory. For football fans, it’s a warm bath of nostalgia; for everyone else, it’s a reminder of how sport can become a national myth.

Daisy Jones & The Six (ITVX)

All 10 episodes available from Sunday 7th June

One of the finest music dramas of recent years. Adapted from Taylor Jenkins Reid’s novel, the series charts the rise and implosion of a fictional 1970s rock band with such conviction that it feels like a recovered piece of music history. The performances are magnetic, the songs are genuinely good, and the emotional fallout is handled with surprising delicacy. It first appeared on Prime, where I watched it, and I loved every episode.

The Score (ITVX)

Both episodes available from Monday 8th June

A taut, stylish two‑parter that blends crime drama with character study. The Score is less interested in the mechanics of wrongdoing than in the people who find themselves pulled into its orbit. Sharp writing and a lean runtime make it an easy, satisfying binge.

The Evil Lawyer (Netflix)

All seven episodes available from Thursday 11th June

A taut, stylish legal thriller with a decidedly dark streak, The Evil Lawyer takes the familiar architecture of courtroom drama and twists it into something sharper and more morally slippery. The series follows a defence attorney whose brilliance is matched only by his capacity for manipulation, and the result is a portrait of power exercised in the shadows — calculated, ruthless, and unsettlingly compelling.

What gives the show its bite is the way it treats the law not as a noble ideal but as a weapon, wielded by someone who understands exactly how to bend systems, people and outcomes to his will. The tension comes less from the cases themselves than from the psychological games surrounding them: alliances formed and broken, truths buried, motives obscured.

Across seven episodes, the series maintains a sleek, propulsive rhythm. It’s glossy without being hollow, cynical without losing its grip on character, and just heightened enough to feel addictive. Beneath the twists, there’s a clear fascination with the cost of ambition — and the ease with which morality can be traded away when winning becomes the only metric that matters.

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Culture Vulture 21st to the 27th of October 2023

October 20, 2023 at 2:55 pm · Filed under Culture Vulture, TV Shows ·Tagged , , , , , , , , ,

Welcome to Culture Vulture, your guide to the week’s entertainment from an alternative standpoint. Selections and writing are by Pat Harrington and music is by Tim Bragg. Highlights this week include: The Hollies: Look Through Any Window, a captivating documentary that delves into the iconic British rock band’s journey through the swinging ’60s and their enduring impact on the music industry.; After Chaos, a documentary depicting the post-war reconstruction of four emblematic cities, including Berlin and Warsaw; and the film Deep Horizon a 2016 American biographical disaster film based on the Deepwater Horizon explosion and oil spill in the Gulf of Mexico.

Saturday 21st of October 2023

Collateral (2004 film) 9pm Film4

“Collateral,” released in 2004, showcases Tom Cruise in a role that breaks away from his typical on-screen persona. In this gripping crime thriller directed by Michael Mann, Cruise takes on the character of Vincent, a cold-blooded contract killer. This departure from his usual roles demonstrates Cruise’s versatility as an actor, and he delivers a standout performance that showcases his range and ability to embody complex characters.

One aspect that truly elevates “Collateral” is its excellent film score. Composed by James Newton Howard, the score perfectly captures the tension and atmosphere of the movie. The music enhances the suspenseful moments, heightening the audience’s emotional involvement and contributing to the overall intensity of the film. The combination of Howard’s masterful composition and the film’s expertly crafted visuals creates a truly immersive experience for viewers.

In addition to Cruise’s against-type performance and the remarkable score, “Collateral” boasts a tightly woven plot that keeps audiences on the edge of their seats. The story follows a taxi driver named Max, played by Jamie Foxx, who unwittingly becomes involved in Vincent’s murderous plans. The dynamic between Cruise and Foxx is captivating, as they navigate the dark underbelly of Los Angeles over the course of a single night.

Mann’s direction brings a distinct visual style to the film, capturing the gritty and atmospheric cityscape of Los Angeles. The nighttime sequences are particularly impressive, showcasing Mann’s talent for creating a moody and evocative atmosphere that perfectly complements the narrative.

“Collateral” is a thrilling and engaging crime thriller that stands out for its exceptional performances, particularly Tom Cruise’s against-type portrayal of a ruthless hitman. The outstanding film score by James Newton Howard further enhances the viewing experience, contributing to the tension and emotional impact of the story. Michael Mann’s direction, coupled with the film’s gripping plot and atmospheric visuals, makes “Collateral” an unforgettable cinematic experience.

The Hollies: Look Through Any Window 10pm Sky Arts

If you love the music of the sixties and seventies, you might want to check out The Hollies: Look Through Any Window, a documentary. It’s a film that celebrates the legacy of one of the most successful British groups of that era, who have sold over 60 million records worldwide and have been inducted into the Rock and Roll Hall of Fame.

The documentary features interviews with original members Graham Nash, Allan Clarke, Tony Hicks and Bobby Elliott, who share their stories and insights about the band’s history, influences, songwriting and performances. You’ll also get to see rare footage of The Hollies in concert, on TV shows and in the studio, as well as clips of some of their biggest hits, such as Bus Stop, He Ain’t Heavy He’s My Brother, Carrie Anne, The Air That I Breathe and Long Cool Woman in a Black Dress.

The film is a tribute to a group that has continued to perform up to the present day, with a sound that is timeless and distinctive. The Hollies: Look Through Any Window is a must-watch for fans of The Hollies and anyone who appreciates the music of the British Invasion era. Don’t miss it!

Sunday 22nd of October 2023

Julius Caesar (1953 film) 12 noon BBC2

“Julius Caesar,” directed by Joseph L. Mankiewicz and released in 1953, stands as a timeless cinematic adaptation of William Shakespeare’s immortal tragedy. This film faithfully brings to life the intricate web of political conspiracy and betrayal in ancient Rome, and its enduring appeal lies in its powerful performances, masterful direction, and a profound exploration of ambition and honor.

Stellar Performances:

At the heart of the film is a cast of exceptional actors, with standout performances that breathe life into Shakespeare’s iconic characters. Marlon Brando, in the role of Mark Antony, delivers a captivating portrayal. His famous “Friends, Romans, countrymen” speech is delivered with intensity, resonating with the passion and emotion expected of this crucial moment in the play.

John Gielgud’s Brutus:

John Gielgud’s portrayal of Marcus Brutus is equally remarkable. His portrayal captures the inner turmoil, moral dilemma, and tragic nobility of the character, making it easy for the audience to empathize with Brutus’s moral struggle and his ultimate fate.

James Mason’s Cassius:

James Mason’s Cassius is another highlight, exuding the cunning and charisma required for the role. HFis chemistry with Gielgud’s Brutus creates a palpable tension that drives the narrative forward.

Greer Garson’s Calpurnia

Greer Garson deserves high praise for her ability to infuse depth and authenticity into the character. Her performance as Caesar’s devoted and concerned wife is both graceful and emotionally resonant, offering a compelling contrast to the political intrigue that unfolds. Garson’s portrayal brings out the vulnerability and strength of Calpurnia, providing a touching and humanizing aspect to the story. Her on-screen presence adds a layer of depth to the film, contributing to the overall richness of this classic Shakespearean adaptation.

Masterful Direction:

Joseph L. Mankiewicz’s direction is a masterclass in bringing Shakespearean drama to the silver screen. The film’s cinematography and set design authentically recreate ancient Rome, immersing the audience in the grandeur and turmoil of the era. Mankiewicz’s ability to balance the intimate character moments with the larger political intrigue showcases his directorial prowess.

Tension and Political Intrigue:

“Julius Caesar” excels in conveying the political tension and machinations of the Roman Senate. The film’s pacing keeps the audience engaged, and its exploration of power, loyalty, and the consequences of betrayal remains relevant in any era.

A Cinematic Time Capsule:

While some may find the theatrical language of Shakespeare challenging, “Julius Caesar” (1953) offers a chance to experience the timeless themes and captivating characters of this classic play in a cinematic format. The film preserves the essence of the source material, making it accessible to a wider audience.

“Julius Caesar” (1953) is a cinematic gem that stands as a testament to the enduring power of Shakespeare’s storytelling. It remains a must-see for enthusiasts of classic cinema and those with an appreciation for the complexities of human ambition, honor, and the consequences of political intrigue. With its outstanding performances, evocative direction, and profound themes, this adaptation continues to be a benchmark in cinematic history.

Testament of Youth (2014 film) 11.55pm BBC1

This adaptation of Vera Brittain’s memoir, stands as a powerful indictment of the horrors of war. Directed by James Kent, this remarkable film masterfully weaves together themes of love, loss, resilience, and the transformation of a generation scarred by the devastation of World War I. In a world marked by the chaos and destruction of the Great War, Alicia Vikander’s portrayal of Vera Brittain is profoundly moving. Her performance captures not only the personal transformation of a young woman determined to defy societal norms but also the broader anti-war sentiment of an era marred by senseless conflict.

“Testament of Youth,” the 2014 film adaptation of Vera Brittain’s poignant memoir, invites viewers into a world irrevocably altered by the cataclysmic events of World War I. Directed by James Kent, this cinematic masterpiece transcends the confines of war to delve into the depths of love, loss, and resilience against the backdrop of global conflict. Alicia Vikander’s portrayal of Vera Brittain is both a heartfelt tribute to the author’s life and a compelling anti-war statement, shedding light on the devastating toll of war.

Alicia Vikander’s performance as Vera Brittain is a testament to her remarkable acting prowess. Her portrayal is characterized by its emotional depth, vividly capturing the personal transformation of a young woman who defied societal norms. One poignant scene, for instance, reveals Vera’s determination to become a nurse and care for the wounded despite societal expectations. This portrayal encapsulates the film’s larger anti-war message by depicting a woman who seeks to heal the wounds of a world torn apart.

“Testament of Youth” doesn’t merely dwell on the war’s horrors; it deeply explores the intertwined themes of love, loss, and resilience. Through a compelling love story, it underscores how war disrupted lives and tested the strength of human connections. The film also highlights Vera’s loss of loved ones, emphasizing the profound, lasting effects of war.

The 2014 adaptation offers a thought-provoking narrative that reaches far beyond a mere retelling of history. Alicia Vikander’s portrayal of Vera is a powerful embodiment of the anti-war sentiment, showing the futility of conflict through her unwavering resolve to bring solace and healing to those affected by the war. It resonates with audiences, urging them to reflect on the consequences of war and the value of peace.

For those who may remember the 1979 TV adaptation of Brittain’s memoir, the 2014 big-screen version offers an intriguing opportunity for comparison. This new adaptation provides a more immersive and cinematic experience, enhancing the emotional impact of the story and emphasizing the anti-war message.

“Testament of Youth” is a must-watch for those who appreciate thought-provoking narratives. It targets a broad audience interested in history, human resilience, and the enduring consequences of war. This film not only serves as a compelling portrayal of Vera Brittain’s life but also delivers a powerful anti-war message, encouraging viewers to contemplate the destructive consequences of conflict and the strength of the human spirit.

Monday 23rd of October 2023

After Chaos: Berlin (one of two) 8.35pm PBS America

After Chaos: Berlin is a documentary that explores the aftermath of World War II in the German capital, which was divided into four zones of occupation by the victorious Allies. The film chronicles the daily struggles of Berliners as they cope with hunger, cold, violence, crime, and the trauma of war. The film also examines the political and ideological conflicts that shaped the future of Germany and Europe, such as the rise of communism, the emergence of the Cold War, and the creation of the Berlin Wall. The film features interviews with eyewitnesses, historians, and experts, as well as archival footage and photographs that reveal the complex and often contradictory realities of life in post-war Berlin. The film is a fascinating and insightful look at a city that was both a symbol of hope and a scene of horror in the 20th century.

The Deep Blue Sea (2011 film) 11.40pm Film4

In Film 4’s tribute to the late, great British Director Terence Davies, “The Deep Blue Sea” (2011) stands as an unforgettable testament to his cinematic brilliance. This emotionally charged film, starring Rachel Weisz as Hester Collyer and Tom Hiddleston as Freddie Page, offers a poignant look into the bleak landscape of post-World War II London. It paints a vivid portrait of love and despair against a backdrop of societal constraints and lost dreams.

Set in the grim aftermath of World War II, “The Deep Blue Sea” introduces us to Hester Collyer, who leaves her stifling marriage for a passionate love affair with Freddie Page, once a dashing RAF pilot. However, as Hester finds herself in a gloomy bedsit, Freddie’s life spirals into the dimly lit pubs of London, leading to a tumultuous and poignant tale of love and loss.

Rachel Weisz delivers an extraordinary performance as Hester, her portrayal a poignant embodiment of inner turmoil and vulnerability. We witness her navigating the complexities of love and desire, particularly in the powerful scene where she contemplates her life in the mirror. Tom Hiddleston, as Freddie Page, captures the fading glory of a war hero, vividly illustrated as he drowns his sorrows in the shadowy taverns.

Terence Davies’ direction is nothing short of exceptional. He masterfully captures the somber post-war atmosphere, and his attention to detail, such as the authenticity of the period-accurate set design and costumes, is evident throughout. One of the most poignant scenes in the film is the rekindling of Hester and Freddie’s passion, which is beautifully framed against the backdrop of their strained relationship.

The film’s melancholic symphony of emotions is enhanced by Samuel Barber’s hauntingly beautiful score. The music draws viewers deeper into Hester’s world and highlights her unending yearning for love, exemplified in the scene where she listens to the gramophone in solitude.

“The Deep Blue Sea” received critical acclaim for its powerful performances and Terence Davies’ meticulous direction. It has garnered attention for its contribution to British cinema and its emotional impact, underscoring the enduring themes of love, longing, and human connection.

As Film 4 pays tribute to Terence Davies, “The Deep Blue Sea” invites viewers to delve into this emotionally charged narrative and celebrate his cinematic legacy. We encourage you to watch the film and share your thoughts, as it sparks engaging discussions on love, desire, and the complexities of the human heart. Don’t miss this cinematic gem that continues to resonate with audiences worldwide.

Tuesday 24th of October 2023

After Chaos: Warsaw (two of two) 8.35pm PBS America

After Chaos: Warsaw is a documentary that follows the reconstruction of the Polish capital after it was almost completely destroyed by the Nazis during World War II. The film shows how the city’s residents, architects, and engineers used 18th century paintings, historical documents, and personal memories to recreate the old Warsaw, while also incorporating modern elements and innovations. The film also explores the cultural, social, and political challenges that Warsaw faced in the post-war era, such as the rise of communism, the Cold War, and the Solidarity movement. The film features interviews with experts, eyewitnesses, and descendants of the original builders, as well as archival footage and photographs that reveal the remarkable transformation of Warsaw from a pile of rubble to a vibrant metropolis. The documentary is a tribute to the resilience, creativity, and courage of the people of Warsaw, who managed to rebuild their city against all odds

Wednesday 25th of October 2023

The Magic of Mushrooms 9pm BBC4

The Magic of Mushrooms is a documentary that explores the fascinating and normally hidden kingdom of fungi, which is essential for life on Earth. The film is presented by Professor Richard Fortey, a mushroom enthusiast and a natural historian, who delves into the evolution, life cycle, and value of fungi. The film features stunning time-lapse photography and microscopy that reveal the beauty and diversity of fungi, from the microscopic spores to the giant puffballs. The film also showcases the amazing abilities and roles of fungi, such as decomposing organic matter, forming symbiotic relationships with plants and animals, producing antibiotics and other chemicals, and influencing human culture and history. The film is a captivating and enlightening journey into the world of fungi, which is often overlooked and misunderstood by most people

Titane (2021 film) 10.50pm Film 4

“Titane” is an audacious and fearless exploration of the human body, identity, and transformation. The film introduces us to Alexia, portrayed by Agathe Rousselle, a young woman with a deep connection to automobiles after a childhood accident. Her provocative and transformative journey unfolds with a mesmerizing blend of body horror and psychological intrigue.

Julia Ducournau’s direction is nothing short of exceptional. She challenges conventional storytelling with a narrative that is as unsettling as it is enthralling. The film masterfully blurs the boundaries between the natural and the supernatural, creating a unique and immersive cinematic experience. Ducournau’s ability to capture the complexity of the human experience in such a raw and unfiltered manner is a testament to her directorial prowess.

“Titane” boasts a mesmerizing and evocative visual style that is both striking and nightmarish. The transformation sequences and body horror elements are executed with incredible attention to detail, immersing the audience in the unsettling world of the film. Ducournau’s use of practical effects and visual storytelling heightens the overall impact of the narrative.

Agathe Rousselle delivers a fearless and captivating performance as Alexia, embodying the character’s turmoil and transformation with unwavering commitment. Vincent Lindon, as a fire chief, adds depth to the narrative with his own layered performance.

As a follow-up to “Raw,” “Titane” continues Julia Ducournau’s exploration of human desires, obsessions, and the consequences of personal transformation. It is a film that demands contemplation, provoking discussion on themes of identity and the boundaries of human existence.

“Titane” is an audacious cinematic creation that solidifies Julia Ducournau’s reputation as a visionary director. This unapologetic exploration of the human psyche, paired with its superb visual storytelling and standout performances, makes it a must-watch for those who appreciate bold and unconventional cinema.

Thursday 26th of October 2023

Censor (2021 film) 10.50pm BBC4

Prepare for a chilling cinematic experience as “Censor” (2021) makes its British TV premiere. Directed by Prano Bailey-Bond, this psychological horror film takes us on a gripping journey into the shadows of the film industry, offering a unique and haunting perspective that unveils deeper social and political themes, keeping viewers on the edge of their seats.

“Censor” immerses us in the dark underbelly of the 1980s British cinema world, a time fraught with social and political tensions. Niamh Algar portrays Enid, a diligent film censor grappling with the morally complex task of reviewing and censoring gruesome and controversial films. In her performance, Algar captures the weight of a society wrestling with its own demons, mirroring the political turmoil of the era.

Prano Bailey-Bond’s direction shines a spotlight on the disorienting atmosphere of the time, where a conservative political climate was reflected in the cinema’s obsession with violence and exploitation. The film’s visual style and use of ’80s aesthetics serve as a powerful backdrop for its exploration of the societal obsession with disturbing content. The blend of fiction and reality is an allegory for a society that often struggled to distinguish between the two, all while political issues loomed large.

The film delves into the social and political consequences of exposure to disturbing content, asking viewers to confront the impact of censorship and the fine line between protection and restriction. It poses crucial questions about the role of censorship in preserving societal values and protecting the vulnerable, especially in a time marked by political and moral conflicts.

As “Censor” receives its British TV premiere, it provides an ideal platform to revisit these themes. The film has garnered critical acclaim for its thought-provoking narrative, the exceptional performance by Niamh Algar, and its ability to unmask the hidden social and political horrors lurking within the human psyche.

“Censor” (2021) is a chilling and thought-provoking exploration of the dark underbelly of cinema, amplified by the social and political tensions of its time. Its British TV premiere is the perfect opportunity to experience this gripping tale, which challenges viewers to reflect on the consequences of censorship, the blurred lines between reality and fiction, and the broader societal and political implications that lurk beneath the surface. Don’t miss this thought-provoking journey into the heart of darkness in both the cinema and society.

Friday 27th of October 2023

Deepwater Horizon (2016 film) 9pm GREAT!movies

“Deepwater Horizon” is a gripping and intense disaster thriller that vividly recreates the devastating events surrounding the infamous oil rig explosion in the Gulf of Mexico in 2010. Directed by Peter Berg, the film delves into the harrowing true story of the men and women who found themselves at the center of one of the largest man-made environmental disasters in history.

The film primarily focuses on the courageous crew members of the Deepwater Horizon, led by Mike Williams (Mark Wahlberg), as they battle escalating technical failures and mounting pressure from corporate interests. The tension builds steadily, and when the explosion finally occurs, it unleashes a chaotic and heart-stopping sequence that leaves viewers on the edge of their seats.

The strength of “Deepwater Horizon” lies in its ability to blend gripping action with a genuine portrayal of the human tragedy and heroism that unfolded during the disaster. The film pays tribute to the workers who displayed extraordinary courage in the face of unimaginable danger, highlighting their unwavering commitment to saving lives and their determination to survive amidst the chaos.

The visual effects in the film are outstanding, capturing the scale and devastation of the rig explosion with breathtaking realism. The attention to detail in depicting the oil rig environment and the technical aspects of drilling operations adds an authentic layer to the film, immersing the audience in the high-stakes and perilous world of offshore drilling.

The performances in “Deepwater Horizon” are compelling, with Mark Wahlberg delivering a strong and emotionally charged portrayal of Mike Williams, a resilient and resourceful everyman caught in the midst of the disaster. The supporting cast, including Kurt Russell and Gina Rodriguez, deliver solid performances, portraying the camaraderie and dedication of the oil rig crew.

While the film succeeds in capturing the immediate impact and chaos of the disaster, it could have delved deeper into the long-term environmental and economic consequences. A more comprehensive examination of the aftermath could have added further weight to the narrative.

“Deepwater Horizon” serves as a stark reminder of the human and environmental cost of industrial disasters. It raises important questions about corporate responsibility, governmental oversight, and the need for stringent safety regulations in high-risk industries. The film prompts reflection on the impact of our actions on the environment and the importance of learning from such catastrophic events.

“Deepwater Horizon” is a gripping and emotionally charged film that honors the bravery and sacrifices of those involved in the Deepwater Horizon tragedy. With its thrilling action sequences, compelling performances, and thought-provoking themes, it offers a riveting cinematic experience that sheds light on the human resilience and the consequences of corporate greed and negligence.

Picture Credits

Collateral
May be found at the following website: IngyenMozifilmek.net, Fair use, https://en.wikipedia.org/w/index.php?curid=2610432

Testament of Youth
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=44974438

The Deep Blue Sea
By http://impawards.com/2011/deep_blue_sea_ver2.html, Fair use, https://en.wikipedia.org/w/index.php?curid=33173896

Censor
By Magnet Releasing – http://www.impawards.com/intl/uk/2021/posters/censor_xxlg.jpg, Fair use, https://en.wikipedia.org/w/index.php?curid=67704699

Deep Water Horizon
The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=49908257

Titane
By http://www.impawards.com/intl/france/2021/titane.html, Fair use, https://en.wikipedia.org/w/index.php?curid=68035188

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