Rescue Dawn is an unlikely adaptation: Werner Herzog has made a feature film based on one of his own documentaries. Viewers may forgive him this unusual act of recycling insofar as his documentary films are already widely known for blurring the boundaries between facts and fiction.
Review by Brad Prager

Released simultaneously in the UK in November, Tsai Ming-liang’s The Wayward Cloud (2005) and I Don’t Want to Sleep Alone (2006) are two disparate and challenging pieces of work from this Asian auteur. While both movies explore similar themes (loneliness, urban dislocation, desire, an obsession with water) The Wayward Cloud is the more immediately engaging film of the two.
Review by Sarah Cronin

What better way to mark the 50th anniversary of Hammer Horror than with the re-release of Dracula – not only Hammer’s first take on the Bram Stoker classic, but undoubtedly its finest.
Review by Claudia Andrei

The sign on the way into town reads: ‘Weedsville, pop: 490,000’. It’s a run-down, post-industrial city on a wrong turn somewhere off the interstate where disenfranchised youth get high in derelict factories and Satanists sacrifice virgins in the drive-in theatre on the outskirts of town.
Review by Alex Fitch

Hailed as a masterpiece of early German cinema and still regarded as one of the best horror films ever made, the 1922 classic Nosferatu has stood the test of time, despite a shaky start.
Review by Lindsay Tudor

Every decade or so, when the stars are right and the aethers are correctly aligned, somebody announces a biopic of Aleister Crowley; Kenneth Anger, Ken Russell and more recently Iron Maiden vocalist Bruce Dickinson spring readily to mind. The Edwardian adventurer, poet, painter, mystic and sexual athlete should make a fantastic subject, the multiple layers that wove through his life – magic and misery, art and arseholism, exoticism and exhibitionism – presenting aeons of richly layered, highly visual dramatic material from which to weave celluloid wizard’s robes.
Review by Mark Pilkington

Theorem, from 1968, is the ultimate summation of Pasolini’s creative preoccupations. His first big-budget international production, it’s part dream and part documentary, part parable and part political attack, part satire and part sex farce. It also amasses an array of stylistic and intellectual contradictions that amaze with each viewing.
Review by Pat Long

The Cuban Missile Crisis was perhaps the height of the cold war. So it is hardly surprising that both The Manchurian Candidate and the lesser-known British film The Mind Benders were made that same year. Both films are concerned with brain-washing…
Review by Paul Huckerby

Edgar G. Ulmer’s The Black Cat and Lew Landers’ The Raven were made only a year apart in the mid-1930s. Both films were ‘suggested’ by stories from Edgar Allan Poe and were the first two instances in which Bela Lugosi and Boris Karloff – each already a star in his own right – co-starred.
Review by Ben Dooley