Streaming Recommendation: "Lost Boys & Fairies"

by Nathaniel R

Fra Fee (Hawkeye, Prime Target) and Sion Daniel Young (Slow Horses, The Left Behind) are would-be parents in LOST BOYS & FAIRIES

Herewith a very modern problem. You see something interesting on a streaming channel and you subscribe without hesitation. You know you have too many subscriptions already. Before you know it you are paying hundreds of dollars for 10 services + add-ons. As much as I wish I had more self-control in this arena, I know I am not alone. Sometimes, though, the bleeding wallet is worth it. After subscribing to BritBox on Amazon Prime solely to watch "Lost Boys & Fairies", I do not regret it one iota. I will not even regret it a year from now when I realize I haven't watched anything else and am still paying for this one watch every single month.

In other words, I am here to emphatically recommend Daf James' BAFTA nominated miniseries Lost Boys and Fairies.  It's an often surprising, emotionally dense, occassionally tuneful, and funny tearjerker...

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A Soderbergh Double Feature: "Black Bag" and "Presence"

by Cláudio Alves

One third of the year over, and already Steven Soderbergh reveals himself to be one of 2025's most exciting filmmakers. In this short span of time, the Oscar-winner has released two new features, starting with the bold POV ghost story of Presence. He followed that up with an old-school spy thriller about sexy liars and the stylish world of deceit they inhabit, Black Bag. As theatrical windows continue to shorten, both pictures are already available for at-home viewing, allowing audiences worldwide to consider Soderbergh's genre experiments up close and personal. 

Indeed, shall we do just that? First up, the high-class shenanigans of Cate Blanchett and Michael Fassbender against the world…

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Review: "Snow White" exceeds expectations, but that's not saying much

by Cláudio Alves

When was the last time the live-action remake of one of Disney's animated properties presented something worth watching? One supposes Cruella had those Jenny Beavan-designed Oscar-winning costumes to recommend it for, and Winnie the Pooh was alright in its melancholic tone. By my account, the last wholly successful of these enterprises was Kenneth Branagh's Cinderella, released a whole decade ago this year. Part of it stemmed from a willingness to deviate from the original, an understanding of the tale's inherent qualities beyond its value as nostalgia fodder, and the lavish production values courtesy of Dante Ferretti and Sandy Powell. 

The latter is back to Disney's mercenary recycling scheme with Snow White, a project that harkens back to Cinderella without reaching the same modest heights. Sandy Powell innocent, though. Well, mostly…

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Berlinale 75: "Blue Moon" isn't your traditional biopic

by Elisa Giudici

Watching Blue Moon, I couldn’t help but think of Inside Llewyn Davis, one of the Coen brothers’ most accomplished yet underappreciated films. That movie introduced Oscar Isaac in what remains his most astonishing performance, portraying a talented but ill-fated musician who arrived just a bit too soon to achieve success. A similar fate awaited Blue Moon’s protagonist, though his story unfolds decades earlier, in 1943 New York, amid the turmoil of World War II...

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Berlinale 75: On the Golden Bear-winning "Dreams"

by Elisa Giudici

First love is by definition all-consuming, reshaping one’s world with overwhelming intensity. In Dreams (Sex Love), a multi-generational reflection on first love from Norwegian director Dag Johan Haugerud, captures this transformative experience, The movie tells the story of Johanne, a high school student who falls deeply for her French teacher. While the premise may seem familiar, the film’s execution is anything but. With remarkable authenticity, Dreams conveys the raw, feverish energy of youthful desire—both in mind and body—while weaving in a broader meditation on love across different stages of life...

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