Nick Bartlett

Freelance Writer

FILMHOUNDS Magazine •

Cypher - a cerebral sci-fi classic

In the same way that crime thrillers were never the same after Reservoir Dogs, early 2000s science fiction took a major cue from The Matrix. A swathe of mind-bending dystopian films followed the Wachowskis' genre-defining masterpiece, some clearly inspired, others flat-out rip-offs. Vincenzo Natali's Cypher is an interesting one — while The Matrix‘s influence is unmistakable, Cypher feels more low-key and restrained, and if anything, its dense, twisty plot is even more ambitious.

Night Moves Review (Criterion Collection)

“Where were you when Kennedy was shot?”
“Which Kennedy?”
“Any Kennedy”

Arthur Penn’s fatalistic neo-noir classic is steeped in the post-assassination disillusionment and government mistrust that defined 1970s America. As such, it’s a wonder the film is as playful and witty as it is. Featuring a wryly sharp script from Alan Sharp and one of Gene Hackman’s most nuanced performances, Night Moves is a treat for lovers of film noir and cinema in general.
FILMHOUNDS Magazine •

Killer Cop (film review)

The penultimate film from Luciano Ercoli, Killer Cop is a sharp and surprisingly nuanced poliziottesco film, balancing pulpy thrills with pointed political commentary. Tellingly, its original Italian title – The Police's Hands Are Tied – is much more fitting than its blander English name. That title doesn't just suggest frustration within the justice system; it captures the film's subversive tone perfectly, hinting at a film where authority is compromised from within.
Critical popcorn •

Warfare IMAX review: Dirs. Ray Mendoza and Alex Garland

Following in the footsteps of Civil War, Alex Garland returns – this time in collaboration with Iraq War veteran Ray Mendoza – with Warfare, a blisteringly intense and technically immaculate war film rooted in the real-life experiences of Mendoza himself. Told in real time and set during the fallout from the 2006 Battle of Ramadi, Warfare is as immersive and gripping as war cinema gets—but whether it has anything to say about war is another matter entirely.
Critical popcorn •

Spilt Milk review: Dir. Brian Durnin

There have been a few films that tackle weighty issues through the lens of a child’s perspective, often choosing one of two approaches: either an overly stylized, fairy-tale-like presentation (Pan’s Labyrinth, Tideland) or a stark, unflinching realism (Ratcatcher, The Florida Project). The final film in our coverage of the Glasgow Film Festival, Spilt Milk manages to have it both ways, while still maintaining a consistent tone – just about.
Critical popcorn •

Daniela Forever review: Dir. Nacho Vigalondo [Glasgow Film Festival 2025]

Nacho Vigalondo has always been a director more interested in form than content, consistently pushing cinematic boundaries. At his best, he is able to blend his experimental approach with emotionally grounded storytelling, such as in his previous film, Colossal. Even his weaker efforts, (looking at you, Open Windows) burst with undeniable creativity. Daniela Forever continues this trend, delivering a visually inventive yet tonally uneven meditation on grief, memory, and control.
Critical popcorn •

The Surfer review: Dir. Lorcan Finnegan [Glasgow Film Festival 2025]

It’s become almost obsolete to point out that Nicolas Cage has made some discerning choices in film roles lately. Whether delivering over the top, bombastic performances (Mandy, Color Out of Space) or embracing quieter, more introspective roles (Pig, Dream Scenario), Cage seems to be really revelling in this stage in his career, and has cultivated one of the most fascinating late-career renaissances in Hollywood.
Critical popcorn •

Exclusive Interview with The Cell’s Director Tarsem Singh

Tarsem Singh‘s psychological thriller The Cell is a surreal blend of Fantastic Voyage, The Silence Of The Lambs and Inception, the type of film that only this director could make.

Jennifer Lopez plays Catherine Deane, a child psychologist using experimental technology that allows her to enter the mind of a catatonic patient. At the same time, the FBI is hunting a serial killer (Vincent D’Onofrio) who kidnaps women and drowns them in elaborate, remote chambers.
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