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Guy Maddin ( Canada’s answer to David Lynch) sets his black-and-white, loopily surreal twist on early-era noir in a dusty mansion teeming with ghosts.
Returning after a long absence, gangster Ulysses (Jason Patric) embarks on a journey through his home to reach his wife (Isabella Rossellini), who’s locked in her room.
The house not only reflects Ulysses’ mind but becomes a metaphor for cinema itself – a strange storage contraption for memory and the past’s spectres.
Though self-referential to a fault, the deadpan humour, frayed logic and monochrome dazzle cast their own richly peculiar spell.
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Mario Kart World quietly fixes one of the series' longest-standing annoyances and I suspect I will get hit with 10% fewer red turtle shells because of it
Superman goes full sci-fi in DC's epic CinemaCon footage, showcasing a bloodied Man of Steel rising again
