Amasio Jutel

Jennifer Lawrence is on fire in Lynne Ramsay’s impressionistic film about the weird and terrifying experience of postpartum depression. 

Despite a lack of narrative structure and frequent flashes forward and back through time, Clint Bentley’s quiet drama about a logger in early 20th-century America relentlessly moves like the train it dreams of.

Now You See Me: Now You Don’t plays with the same bag of tricks to no audience astonishment.

When radars at a military fort in Alaska detect a rogue nuclear missile heading in the direction of Chicago, the US high command begins a race against the clock to identify who launched it and how to respond.

Placing small bets and folding under pressure, Ballad of a Small Player is overstylised and substanceless — met at this level by its director, script and star.

Eddington is an absurdly realist Covid-era conspiracy thriller from Ari Aster, revealing our doomscrolling alienation as we retreat into our individual algorithms until we no longer recognise our neighbours.

From his 2022 Detroit basement horror, Barbarian, Zach Cregger has levelled up in almost every way in Weapons.

Relationships and healing were central for the director and star of a new film, they tell Weekend Mix film reviewer Amasio Jutel.

Weekend Mix film reviewer Amasio Jutel has five ways to make the most of using the festival’s popular five-film multipass.

The colourful flair of Superman is undoubtedly a positive indicator of the direction director-turned-chief executive of DC Studios, James Gunn, will take his new comic book sandbox.

Re-entering his high-octane motor vehicle bag, Joseph Kosinski’s follow-up to Top Gun: Maverick boasts cinematic spectacles worth the price of admission alone.

28 Years Later is post-post-apocalyptic horror with a deep emotional storyline, exhilarating action, and bombastic film-making, and a tale of the cold-hearted tribalism and polarisation that its writer too often pontificates about in less effective films.

As the stunts get bigger and better, the framing gets duller and more convoluted.

The sentimental retrospective of a late-career auteur exploring his legacy.

Despite the very silly title, Clown in a Cornfield has the feel of a Texas Chainsaw slasher paired with the slapstick sentiment of Terrifier’s ridiculously costumed clowns who, without fail, wear size 100, squeaky clown shoes at every killing.

Overloaded with screenwriters and devoid of serious cinematic care, A Minecraft Movie has been IP-mined for every block the game is worth.