Last last year Sam Inglis led a team of HeyUGuys writers to compile a list of the films of 2021 that were cruelly overlooked. As we’re halfway through 2022 the time has come to draw up another list of films, but this time there’s a different criteria at hand.
These are the films that we have discovered, so far, in 2022. These are the films, from any year, that we have watched for the first time, and wanted to share with you. Here there are cinematic classics along with obscure ‘90s action thrillers, character studies and slasher flicks galore – there is no other list quite like it around.
We hope you’ll find new favourites from the list here, and be inspired to look further afield for your own movie discoveries.
Daniel Goodwin Recommends Colossus: The Forbin Project
At a time when Sci-Fi films were evolving from silly flying saucer B-movies into subversive,...
These are the films that we have discovered, so far, in 2022. These are the films, from any year, that we have watched for the first time, and wanted to share with you. Here there are cinematic classics along with obscure ‘90s action thrillers, character studies and slasher flicks galore – there is no other list quite like it around.
We hope you’ll find new favourites from the list here, and be inspired to look further afield for your own movie discoveries.
Daniel Goodwin Recommends Colossus: The Forbin Project
At a time when Sci-Fi films were evolving from silly flying saucer B-movies into subversive,...
- 6/23/2022
- by Sam Inglis
- HeyUGuys.co.uk
It’s been another strange year. Perhaps more so than ever, the way films have been released has been in a confusing state of flux. What’s coming to cinemas? If it makes it how many screenings will it actually have? What’s going to which streaming service, and when? There have been a lot of excellent movies released in 2021, but sifting through them has been challenging, even if you’re doing your best to keep up.
Here, the HeyUGuys team have a few suggestions for things that may have slipped through the cracks, but which we think you should catch up with.
Daniel Goodwin Recommends
The Summit of the Gods (Patrick Imbert)
Based on the Jiro Taniguchi manga, this visually breath-taking, staggeringly dramatic, 90s set, French animated feature tells the tale of Nepal based, Japanese photojournalist Makato Fukamachi (Damien Boisseau), who happens upon the old Kodak camera of a...
Here, the HeyUGuys team have a few suggestions for things that may have slipped through the cracks, but which we think you should catch up with.
Daniel Goodwin Recommends
The Summit of the Gods (Patrick Imbert)
Based on the Jiro Taniguchi manga, this visually breath-taking, staggeringly dramatic, 90s set, French animated feature tells the tale of Nepal based, Japanese photojournalist Makato Fukamachi (Damien Boisseau), who happens upon the old Kodak camera of a...
- 12/16/2021
- by Sam Inglis
- HeyUGuys.co.uk
Author: Daniel Goodwin
In his incredible forty year career, legendary Northern Ireland and New Zealand raised actor Sam Neill has starred in a multitude of both mainstream movies and independent films, spanning continents, characters, genres and budget sizes. His latest film, Sweet Country, is an Australian frontier drama inspired by true events that embraces traits from the Western genre.
Australian native Warwick Thornton adapts Steven McGregor and David Tranter’s screenplay which tells the tale of Aboriginal farmhand Sam Kelly (Hamilton Morris), who accidentally kills an irate white bigot tormenting his family. Kelly goes on the run from law enforcement which takes the shape of the affable Sergeant Fletcher (Bryan Brown), accompanied by his Good Samaritan employer Fred Smith (Neill) who wishes to guide Kelly home to safety.
Before Sweet Country, Neill featured in critically acclaimed commercial thrillers (Dead Calm, The Hunt For Red October), prestige dramas (A Cry in the Dark,...
In his incredible forty year career, legendary Northern Ireland and New Zealand raised actor Sam Neill has starred in a multitude of both mainstream movies and independent films, spanning continents, characters, genres and budget sizes. His latest film, Sweet Country, is an Australian frontier drama inspired by true events that embraces traits from the Western genre.
Australian native Warwick Thornton adapts Steven McGregor and David Tranter’s screenplay which tells the tale of Aboriginal farmhand Sam Kelly (Hamilton Morris), who accidentally kills an irate white bigot tormenting his family. Kelly goes on the run from law enforcement which takes the shape of the affable Sergeant Fletcher (Bryan Brown), accompanied by his Good Samaritan employer Fred Smith (Neill) who wishes to guide Kelly home to safety.
Before Sweet Country, Neill featured in critically acclaimed commercial thrillers (Dead Calm, The Hunt For Red October), prestige dramas (A Cry in the Dark,...
- 3/5/2018
- by Daniel Goodwin
- HeyUGuys.co.uk
Author: Daniel Goodwin
Duncan Jones’ fourth feature, the long gestating twinkle in his eye/ pseudo Moon sequel Mute, is finally set to make its Netflix debut on Friday 23rd February. This British/German sci-fi production, filmed in Berlin, has been a passion project of Jones’ for some time and one that has careered from pipedream to planned and temporarily postponed. But when potent concepts flower within the minds of passionate artists they have a tendency to materialise in some form or another; whatever the cost. In Mute’s case, due to the evolution of online streaming triggering an industry metamorphosis, the film will mostly bypass cinemas* and arrive in the homes of Netflix subscribers on Friday 23rd February. What is known of the narrative is not much beyond a log-line with morsels extracted from myriad sources to form a patchwork understanding of what the story might be.
Prior to the...
Duncan Jones’ fourth feature, the long gestating twinkle in his eye/ pseudo Moon sequel Mute, is finally set to make its Netflix debut on Friday 23rd February. This British/German sci-fi production, filmed in Berlin, has been a passion project of Jones’ for some time and one that has careered from pipedream to planned and temporarily postponed. But when potent concepts flower within the minds of passionate artists they have a tendency to materialise in some form or another; whatever the cost. In Mute’s case, due to the evolution of online streaming triggering an industry metamorphosis, the film will mostly bypass cinemas* and arrive in the homes of Netflix subscribers on Friday 23rd February. What is known of the narrative is not much beyond a log-line with morsels extracted from myriad sources to form a patchwork understanding of what the story might be.
Prior to the...
- 2/22/2018
- by Daniel Goodwin
- HeyUGuys.co.uk
Author: Daniel Goodwin
Life teems with a myriad of grand endeavours; acts of kindness and unspoken tales which will never be captured on screen no matter how profound they are. Meanwhile celebrities, public figures and YouTube stars belch out putrid accounts (breakfast intake, subsequent bowel movement and surgical blunders etc) en masse or captured in a pop-doc because their fan base ensures high hit/ audience numbers. Whether it makes for an enthralling work is almost irrelevant. It’s part of an adage that spreads to the generation of flaccid sequels, prequels, spin-offs and unwanted remakes, reboots etc and it will never stop as long as there’s a speck of milk on the udder.
In the matter of both The Ice King and figure skating artist/ legend John Curry this is not quite the case. Curry was not only an “ice-dancing” artist/ sports pioneer but a fascinatingly fractured, haunted individual...
Life teems with a myriad of grand endeavours; acts of kindness and unspoken tales which will never be captured on screen no matter how profound they are. Meanwhile celebrities, public figures and YouTube stars belch out putrid accounts (breakfast intake, subsequent bowel movement and surgical blunders etc) en masse or captured in a pop-doc because their fan base ensures high hit/ audience numbers. Whether it makes for an enthralling work is almost irrelevant. It’s part of an adage that spreads to the generation of flaccid sequels, prequels, spin-offs and unwanted remakes, reboots etc and it will never stop as long as there’s a speck of milk on the udder.
In the matter of both The Ice King and figure skating artist/ legend John Curry this is not quite the case. Curry was not only an “ice-dancing” artist/ sports pioneer but a fascinatingly fractured, haunted individual...
- 2/22/2018
- by Daniel Goodwin
- HeyUGuys.co.uk
Author: Daniel Goodwin
If anybody told me before I went to bed last night that I would be up at 4 am the following morning and writing a review of the new Cloverfield film, I would ask them to hand over whatever it was they were smoking or pass it off as a dream. No matter how much modern, software savvy sci-fi fans try to predict the precise moment a this film was going to drop, the film-makers and distributors were ahead of the game, waiting for that perfect moment to hurl it at us like a cine-custard pie without any kind of warning. With online speculation mounting but not quite at fever pitch, in the early hours of 5th February, The Cloverfield Paradox (formerly God Particle) arrived (on Netflix) making this Monday morning as welcome as a bank holiday after an surprisingly wild Sunday night on the tiles.
The story starts quite mawkishly,...
If anybody told me before I went to bed last night that I would be up at 4 am the following morning and writing a review of the new Cloverfield film, I would ask them to hand over whatever it was they were smoking or pass it off as a dream. No matter how much modern, software savvy sci-fi fans try to predict the precise moment a this film was going to drop, the film-makers and distributors were ahead of the game, waiting for that perfect moment to hurl it at us like a cine-custard pie without any kind of warning. With online speculation mounting but not quite at fever pitch, in the early hours of 5th February, The Cloverfield Paradox (formerly God Particle) arrived (on Netflix) making this Monday morning as welcome as a bank holiday after an surprisingly wild Sunday night on the tiles.
The story starts quite mawkishly,...
- 2/5/2018
- by Daniel Goodwin
- HeyUGuys.co.uk
Genre festival moves to Vue West End in London’s Leicester Square for its 15th edition.
Film4 FrightFest has moved to the Vue West End for its 15th edition, which runs from Aug 21-25.
The five-day genre festival has run at the Empire Leicester Square for the past five years, and spent four years before that at the Odeon West End.
Alan Jones, FrightFest co-director, commented: “Relocating to Vue Leicester Square for this year’s event will allow us to be even more creative and ambitious, whilst still retaining our unique blend of inclusiveness and great value for money.”
FrightFest has hosted its last three Halloween all-nighter events at the Vue West End. The move follows the conversion of Empire’s Screen 1 into an IMAX theatre with an additional digital screen.
This year’s event will be spread over more screens than previous years, but the festival and day passes will remain in place alongside individual tickets...
Film4 FrightFest has moved to the Vue West End for its 15th edition, which runs from Aug 21-25.
The five-day genre festival has run at the Empire Leicester Square for the past five years, and spent four years before that at the Odeon West End.
Alan Jones, FrightFest co-director, commented: “Relocating to Vue Leicester Square for this year’s event will allow us to be even more creative and ambitious, whilst still retaining our unique blend of inclusiveness and great value for money.”
FrightFest has hosted its last three Halloween all-nighter events at the Vue West End. The move follows the conversion of Empire’s Screen 1 into an IMAX theatre with an additional digital screen.
This year’s event will be spread over more screens than previous years, but the festival and day passes will remain in place alongside individual tickets...
- 5/1/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
Genre festival moves to Vue West End in London’s Leicester Square for its 15th edition.
Film4 FrightFest has moved to the Vue West End for its 15th edition, which runs from Aug 21-25.
The five-day genre festival has run at the Empire Leicester Square for the past five years, and spent four years before that at the Odeon West End.
Alan Jones, FrightFest co-director, commented: “Relocating to Vue Leicester Square for this year’s event will allow us to be even more creative and ambitious, whilst still retaining our unique blend of inclusiveness and great value for money.”
FrightFest has hosted its last three Halloween all-nighter events at the Vue West End. The move follows the conversion of Empire’s Screen 1 into an IMAX theatre with an additional digital screen.
This year’s event will be spread over more screens than previous years, but the festival and day passes will remain in place alongside individual tickets...
Film4 FrightFest has moved to the Vue West End for its 15th edition, which runs from Aug 21-25.
The five-day genre festival has run at the Empire Leicester Square for the past five years, and spent four years before that at the Odeon West End.
Alan Jones, FrightFest co-director, commented: “Relocating to Vue Leicester Square for this year’s event will allow us to be even more creative and ambitious, whilst still retaining our unique blend of inclusiveness and great value for money.”
FrightFest has hosted its last three Halloween all-nighter events at the Vue West End. The move follows the conversion of Empire’s Screen 1 into an IMAX theatre with an additional digital screen.
This year’s event will be spread over more screens than previous years, but the festival and day passes will remain in place alongside individual tickets...
- 5/1/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
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