Rory Doherty is a writer of criticism, films, and plays based in Edinburgh, Scotland. He's often found watching something he knows he'll dislike but will agree to watch all of it anyway. You can follow his thoughts about all things stories @roryhasopinions.
Finally Dawnworks best as a pithy blurb summing up all that’s noteworthy about it, handily omitting the fact that everything that’s interesting about the finished product is stranded in an intolerably long and dull film.
Uninterested in the tropes and discourses surrounding today’s queer cinema, Femme tells an urgent story that raises complicated questions about queer justice and belonging.
Charlotte Regan's debut film Scrapper is exactly as it's named: a thinly plotted story with a gorgeous aesthetic and a fierce drive that demands your attention.
Irish Troubles period piece Dead Shot nails the complicated morality and brutality of the conflict but a need for more Irish voices behind the camera is made obvious by its tendency towards vague centrism.
Never has a Christopher Nolan film belonged more to its star, Irishman Cillian Murphy, than Oppenheimer, maybe because no prior Nolan film has ever been named after its lead character.
The post-apocalypse is not the ideal place to be stuck with a load of Brits, and yet somehow, people just keep casting them in television's best apocalyptic fiction. Let's run down the few we would like on our team.
Domina Season 2 continues to humanize Rome’s first empress, Livia Druscilla, usually painted as a power-hungry, downright evil character. However, creator Simon Burke isn't here to humanize just Livia, but all women sidelined in the stories told of