Leigh Singer

Leigh Singer is a film journalist, programmer and video essayist for Sight and Sound, The Guardian, Little White Lies and Second Sight Films, among others. He oversees audiovisual MA dissertations at the UK’s National Film and Television School and can be found on IG: @film_leigh or B/Sky @leighsinger

All articles by Leigh Singer

Reviews

Animal Farm: Cutesy adaptation of George Orwell’s text falls flat

Director Andy Serkis’s animation updates Orwell’s political satire into a kid-friendly triumph over adversity with sloppy slapstick and an extended fart gag.

By Leigh Singer

Animal Farm: Cutesy adaptation of George Orwell’s text falls flat

Reviews

Toy Story 5: screen-time overtakes creative play in Pixar’s imaginative tear-jerker

By Leigh Singer

Toy Story 5: screen-time overtakes creative play in Pixar’s imaginative tear-jerker

10 great

10 great Lynchian films

By Leigh Singer

10 great Lynchian films

Interviews

James L. Brooks on his return to directing: “The word ‘content’ is not my favourite”

By Leigh Singer

James L. Brooks on his return to directing: “The word ‘content’ is not my favourite”

Reviews

The Ice Tower: another cryptically macabre and magical fable from Lucile Hadžihalilović

By Leigh Singer

The Ice Tower: another cryptically macabre and magical fable from Lucile Hadžihalilović

Where to begin

Where to begin with Lucile Hadžihalilović

By Leigh Singer

Where to begin with Lucile Hadžihalilović

Reviews

Ellis Park: a Warren Ellis documentary in synch with its generous subject

By Leigh Singer

Ellis Park: a Warren Ellis documentary in synch with its generous subject

Interviews

Warren Ellis on his best soundtracks: “Quite often, looking at the image is the least important thing”

By Leigh Singer

Warren Ellis on his best soundtracks: “Quite often, looking at the image is the least important thing”

Reviews

Spinal Tap II: The End Continues: the rockers reunite for a self-congratulatory meta-sequel

By Leigh Singer

Spinal Tap II: The End Continues: the rockers reunite for a self-congratulatory meta-sequel

Interviews

“Some things I can’t talk about”: director Fax Bahr on Francis Coppola and the making of Hearts of Darkness: A Filmmaker’s Apocalypse

By Leigh Singer

“Some things I can’t talk about”: director Fax Bahr on Francis Coppola and the making of Hearts of Darkness: A Filmmaker’s Apocalypse

Reviews

Jurassic World Rebirth: satisfying thrills, thin storytelling

By Leigh Singer

Jurassic World Rebirth: satisfying thrills, thin storytelling

Interviews

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

By Leigh Singer

“I can think of nothing more boring than a live concert film”: Iain Forsyth, Jane Pollard and Emiliana Torrini on The Extraordinary Miss Flower

Reviews

The Rule of Jenny Pen: John Lithgow terrorises the elderly with a glove puppet in this one-note nursing home nasty

By Leigh Singer

The Rule of Jenny Pen: John Lithgow terrorises the elderly with a glove puppet in this one-note nursing home nasty

Festivals

Tornado: John Maclean brings exhilarating samurai action to Scotland

By Leigh Singer

Tornado: John Maclean brings exhilarating samurai action to Scotland

Reviews

Hard Truths: Mike Leigh’s graceful tragicomedy shows how irreplaceable he is in British cinema

By Leigh Singer

Hard Truths: Mike Leigh’s graceful tragicomedy shows how irreplaceable he is in British cinema

Reviews

A Complete Unknown: a heartfelt and dutiful biopic of Bob Dylan’s formative freewheelin’ years

By Leigh Singer

A Complete Unknown: a heartfelt and dutiful biopic of Bob Dylan’s formative freewheelin’ years

Interviews

“The film should continue with you, otherwise I’m just preaching”: Raoul Peck on his documentary Ernest Cole: Lost and Found

By Leigh Singer

“The film should continue with you, otherwise I’m just preaching”: Raoul Peck on his documentary Ernest Cole: Lost and Found

Festivals

We Live in Time: an eminently watchable but contrived weepie

By Leigh Singer

We Live in Time: an eminently watchable but contrived weepie

Features

Sweet Dreams: an immersive multimedia exhibition that plays chicken with our take on fast food

By Leigh Singer

Sweet Dreams: an immersive multimedia exhibition that plays chicken with our take on fast food

Reviews

Agent of Happiness: gentle documentary explores the question – can joy be quantified?

By Leigh Singer

Agent of Happiness: gentle documentary explores the question – can joy be quantified?

Interviews

Peel slowly and see... The return of Billy Connolly: Big Banana Feet

By Leigh Singer

Peel slowly and see... The return of Billy Connolly: Big Banana Feet

Interviews

Silver Haze: how we made our arson-attack survivor drama

By Leigh Singer

Silver Haze: how we made our arson-attack survivor drama

10 great

10 great films set over one night

By Leigh Singer

10 great films set over one night

Interviews

How Britain got its groove back: the return of Cymande

By Leigh Singer

How Britain got its groove back: the return of Cymande

Reviews

The Color Purple: showstopping musical adaptation is determined to accentuate the positive

By Leigh Singer

The Color Purple: showstopping musical adaptation is determined to accentuate the positive

Where to begin

Where to begin with Werner Herzog

By Leigh Singer

Where to begin with Werner Herzog

Festivals

Chicken Run: Dawn of the Nugget: an endearing second helping of fowl play

By Leigh Singer

Chicken Run: Dawn of the Nugget: an endearing second helping of fowl play

Festivals

Fallen Leaves star Alma Pöysti on working with Aki Kaurismäki: “Everyone was surprised he made this movie”

By Leigh Singer

Fallen Leaves star Alma Pöysti on working with Aki Kaurismäki: “Everyone was surprised he made this movie”

Features

The enigmatic ‘pillow shots’ of Yasujiro Ozu

By Leigh Singer

The enigmatic ‘pillow shots’ of Yasujiro Ozu

Reviews

Squaring the Circle (The Story of Hipgnosis): a nostalgic ode to the album cover

By Leigh Singer

Squaring the Circle (The Story of Hipgnosis): a nostalgic ode to the album cover