Amasio Jutel

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.

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.

The essential post-Taylor Swift movie, M. Night Shyamalan’s newest genre-thriller falls into the age-old Trap of the director’s career: a brilliant concept but lukewarm execution.  

Nauseatingly terrifying yet paradoxically hypnotising, Osgood Perkins’ satanic thriller Longlegs is a must-see.

Twisters is a disaster movie paradigmatic of a general trend towards conservatism that has become commonplace in Hollywood.

Blending Goodfellas and The Magnificent Seven and transposing them onto a motorcycle, Jeff Nichols’ The Bikeriders is a rocking and ferocious, emotionally affecting tale of violence and rebellion in anti-establishment America. 

The Taste of Things is director Tran Anh Hung’s tasteful, fervent tribute to the culinary arts.