Transcendent and singular, RaMell Ross dramatically pioneers a new cinematic language, revitalising the art of literary adaptation in his retelling of Colson Whitehead’s prize-winning 2019 novel, Nickel Boys.
Heart Eyes is a competent convergence of ’90s and 2000s-inspired romantic comedies with the contemporary slasher revival of the past decade.
If Brave New World is supposed to introduce us to the next stage in Marvel’s "new world" then the team behind the film did a poor job being "brave".
In 2018, Christian Gudegast directed Den of Thieves, an action heist movie much in the vein of Michael Mann’s 1995 classic Heat melded with an energetic Ocean’s plot: an aggressively masculine retelling of the former combined with a sleazier version of the latter’s narrative.
When a chief executive comes across a hot intern who awakens her to a world of transgressive pleasure, she risks everything to attain the sexual satiety he provides — that’s missing from her marriage.
Those with any investment in film award culture will have noticed that The Brutalist is quickly picking up steam.
Sing Sing, directed by Greg Kwedar, is a triumph of humanity.
Festive cop-aganda in the vein of Die Hard, Carry-On is the straight-to-streaming Christmas action movie you didn’t know you needed this holiday season.
As the curtains begin to close on another film-watching year, two of our reviewers choose their favourite cinematic moments.
The Piano Lesson, adapted from August Wilson’s celebrated stage play, presents a thoughtful exploration of the weight of slavery’s aftermath, a reminder that generational trauma lingers long after the chains are removed.
Blitz is a WW2 story with progressive intersectional themes at its core, which misses a more personal directorial lens, largely propped up by two great performances from its leads.
The "silent horror movie" is one of the least interesting gimmicks we’re seeing repeated in contemporary horror, and Azrael follows this well-trodden path.
High budget and low effort, Gladiator II is a poorly written, poorly directed film that’s only escaping the critical panning it deserves because Ridley Scott has something of an eye for the cinematic.
Terrifier 3 combines ’70s-style Giallo practical horror with Harpo Marx-ian slapstick acting expression that leaves one’s skin crawling and funny bone tickled.
Saturday Night is Jason Reitman’s fabricated reimagining of the turbulent production immediately preceding the first episode of Saturday Night Live on October 11, 1975.
Megalopolis is a Roman epic transposed into contemporary America, where a tormented visionary architect is at odds with a city’s mayor in the ideological and architectural frontier of the future.
It’s ironic that a film titled The Substance would have little of it.
Speak No Evil sets the loaded gun on the table then proceeds to dare you to think it’s going to fire, sewing anxiety, doubt and despair into the tapestry of the text.
Both a sweeping war epic crossed with a McGuffin-laden political thriller, Milady ultimately ends up slightly confused between the two, trying too hard to pull off both manoeuvres to satisfyingly deliver on either.
Beetlejuice Beetlejuice is a gentle return to form for Tim Burton, ditching CGI to reignite that colourful practical flair reminiscent of his earlier work.
