Bone Keeper review – there’s a critter in the caves in serviceable Brit horror

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An unconvincing group of friends is briskly picked off one-by-one while searching for a beastie that hitched a ride to Earth on a meteorite You get the measure early on of the tentacled predator in this British horror film when it makes mincemeat out of a hairy tough-guy Neanderthal. The movie opens with some punching-above-its budget special effects explaining the origins of the flesh-eater, which crash landed on Earth with a meteorite. Like Neil Marshall’s The Descent, it’s a creature that makes its home in caves – though unlike the earlier movie, Bone Keeper lacks a sense of sweat-trickling-down-your-back claustrophobia, despite a couple of good scares. Sarah Alexandra Marks plays Olivia, whose journalist grandfather vanished in the 1970s while investigating reports of a creature in a cave somewhere in the UK. Now years later, Olivia’s mother has disappeared while searching for him. So Olivia heads to the caves with a group of mates, who feel as if they’ve been dreamed up in a 20-...
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In Whose Name? review – Kanye’s descent makes for grimly compelling watch

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More than 3,000 hours of footage filmed since 2018 by a teenager gets turned into a strange, revealing and unsettling look at a fallen star

“What was Kanye West thinking?” has remained a prevailing question since the Grammy award-winning rapper-producer pulled the rip cord on his spectacular descent into rightwing nihilism more than a decade ago. In Whose Name?, a cinéma vérité take on the tortured musical genius (who goes by just Ye now), offers fans and long-term observers a new artifact to pore over in search of answers – and reason to be disappointed all over again.

That’s not a knock on the 104-minute opus, an outcropping of more than 3,000 hours of footage – some of it never before seen, some of it a reverse perspective on the viral stunts and rants that have marked Ye’s dramatic nosedive. Director Nico Ballesteros – who started filming in 2018, at age 18, with nothing to recommend him (his stint as a second assistant director on a Jesus Is King concert video came later) – had sweeping access to Ye and made the distinctive choice not to layer it with any talking-head commentary for context. Mostly, he turns on the camera, holds a tight focus on his subject and lets the rest drift in and out of frame.

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