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B. P. Flanagan

About B. P. Flanagan

B.P. Flanagan is a film and culture critic based in London.

A closeup of Shabab Hosseini in The Night, looking horrified. The still features text which reads, 'Review'.

B. P. Flanagan / January 26, 2021

The Night Review: A low-budget chiller starring Shahab Hosseini

Kourosh Ahari’s The Night, a rare American-Iranian co-production, is a disappointedly cliched horror offering.

Two stills stitched together, one of Bette Davis in the 1950 film All About Eve, the other of Gillian Anderson in the 2019 stage adaptation.

B. P. Flanagan / November 27, 2020

All About Eve at 70: A closeup on Joseph Mankiewicz’s classic and its stage adaptation

On the 70th anniversary of Joseph Mankiewicz’s All About Eve, we dissect why Ivo Van Hove’s recent stage revival, and its attempts to be ‘cinematic’, pales in comparison.

Saul Willliams as Akilla, bathed in red lighting, in Akilla's Escape.

B. P. Flanagan / September 23, 2020

TIFF Review: Akilla’s Escape is a tempered Saul Williams showcase

Charles Officer’s Akilla’s Escape works best at its most stripped back, but too often the film gets caught up in tired crime tropes.

A man sits in a darkened room surrounded by newspapers in The Best is Yet to Come.

B. P. Flanagan / September 20, 2020

TIFF Review: The Best is Yet to Come is a freelancer’s wet dream

Jing Wang’s directorial debut, The Best is Yet to Come, is a middle-of-the-road story on the value of journalism has little new to offer.

A still from The New Corporation.

B. P. Flanagan / September 20, 2020

TIFF Review: The New Corporation: The Unfortunately Necessary Sequel is less than necessary

Jennifer Abbott and Joel Bakan’s The New Corporation is a documentary sequel to The Corporation that’s not as radical as it thinks it is.

White Lie, Calvin Thomas, Yonah Lewis

B. P. Flanagan / July 25, 2020

White Lie directors Calvin Thomas and Yonah Lewis plunge the viewer into moral turmoil

Directors Calvin Thomas and Yonah Lewis discuss collaborating, using in-depth research to make fiction, and why they keep writing films about women.

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