Geoff Andrew

2 months ago | bfi.org.uk | Chloe Walker |Brogan Morris |Geoff Andrew

On 21 February 1925, the first issue of The New Yorker hit newsstands. A profile of an opera impresario, some scant pieces of high society gossip – there was little in that debut edition to indicate the literary titan the magazine would become. One hundred years later, it’s stronger than ever, having published many of the best writers in the world, profiled many of the leading historical figures, and broken a whole host of vital news stories.

2 months ago | bfi.org.uk | Brogan Morris |Geoff Andrew |Josephine Botting

Explosions, lens flares and VFX galore... On his 60th birthday, explore Michael Bay's action-packed filmography to venture into an identifiable stylistic Bayhem. 17 February 2025To many critics and cinema connoisseurs in the 1990s through to the 2010s, no director represented all that was crass and ugly about Hollywood more than Michael Bay.

Aug 6, 2024 | bfi.org.uk | Josh Slater-Williams |Katie McCabe |Geoff Andrew |Alex Davidson

Throughout life, many adults experience some degree of alienation from their environment or ostensible loved ones. It can be brief or long-lasting, but it’s a universal experience even if the specifics will always vary. Less common is that alienation leading us to believe that we may actually be an alien.

Jul 30, 2024 | bfi.org.uk | Katie McCabe |Geoff Andrew |Alex Davidson |Katie McCabeInterviews

With I Saw the TV Glow, director Jane Schoenbrun has crafted a cult hit from a love of cult media. Their first feature We’re All Going to the World’s Fair, about a young teen participating in an online role-playing horror game, was a sublimely creepy exploration of what it was like to grow up on the internet. Now, they’ve made a film about spending adolescence glued to a cathode-ray TV screen, searching for escape from an ill-fitting identity.

Jul 25, 2024 | geoffandrew.com | Geoff Andrew

Now in UK cinemas and by far the finest fiction film I’ve seen this year, About Dry Grasses is utterly characteristic of the longer, more recent works by the great Turkish writer-director Nuri Bilge Ceylan; at the same time it’s so engrossing throughout that it feels remarkably fresh from beginning – a brazenly Ceylanesque long shot of a man getting off a bus in the middle of nowhere and trudging towards the camera through a snowy rural landscape – to wonderfully ambiguous end.