HeyJaredKim Newman
- Indexed articles, last 90 days
- 4
- Latest publication
- Sep 17, 2026
- Outlet visibility, for BFI
- Top 100K sites
- Earliest in this view
- Jul 23, 2026
Latest articles
10 great sci-fi B-movies (opens the original)
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American science fiction cinema took decades to wriggle free of the pulp magazine/comic book aspects typified by the Flash Gordon serials of the 1930s, only to give up and go back (with a bigger budget) in Star Wars (1977). Because SF films require expensive special effects and SF literature involves challenging ideas, A-picture science fiction was historically a rare strain – carried by Metropolis (1927), Things to Come (1936), 2001: A Space Odyssey (1968) and Blade Runner (1982): philosophical
The End of Oak Street review: Do-You-Think-He-Saurus? (opens the original)
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Ever since the first attempts to realise extinct animals on film – Winsor McCay’s Gertie the Dinosaur (1914) and Willis H. O’Brien’s The Dinosaur and the Missing Link (1915) – the trick has not just been to bring dinosaurs to life but to have them share the screen with human beings. Cartoon Gertie interacted with a narrator-lecturer and O’Brien’s stop-motion dinosaur is contemporary with cavemen (the often mocked ‘Flintstones’ model of prehistory). Outside of anthropomorphised animal cartoons (T
Ice Cream Man review: Mind that child (opens the original)
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A sequence in Eli Roth’s Ice Cream Man recreates the set-piece from Alfred Hitchcock’s The Birds (1963) in which Tippi Hedren sits outside a school and smokes, with singing children on the soundtrack, not noticing birds gathering on a climbing frame behind her. The joke is that instead of birds, the frame is occupied by its supposedly natural inhabitants – children. Rather than imperilling children, Roth unleashes brat hordes who have become possessed with murderous yet mischievous rage against
Chicken Run reviewed in 2000 (opens the original)
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The high concept behind Chicken Run is that it is a prisoner-of-war film featuring grimacing plasticine chickens in place of Richard Attenborough, John Mills or any other persistent screen escapee from Colditz or Stalag 17. To underline this, there are enormously pleasurable quotes from John Sturges’ The Great Escape (1962), the only POW film liable to be familiar to an international audience. After each failed escape attempt, Ginger, the mastermind behind the chicken’s plans, is confined to a c
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