• Don't Look Up

    Don't Look Up


    An egregious two-and-a-half hours of a smug Adam McKay and a misguided cast tapping each other on their backs, congratulating and laughing at their own terrible jokes.

    Granted, Jennifer Lawrence and Cate Blanchett save things from one-star city but this was one confused and overstuffed mess - the humour is empty-headed, the satire obvious and it socio-political undertones embarrassingly limp.

    An intriguing concept, yes, but unfortunately mishandled by a writer/director completely out of his league.

  • The Last Duel

    The Last Duel


    Ridley Scott reminding us of what an incredible filmmaking he can be. The Last Duel is an example of intelligent and engaging adult-orientated drama that rarely seen on the silver screen these days.

    France 1386: the story is broken into three chapters, each one from the perspective of our main protagonists: Knight Jean de Carrouges (Matt Damon), his former friend, Squire Jacques Le Gris (Adam Driver) and Marguerite (Jodie Comer), Carrouges' loyal wife. After a land dispute between the two…

  • Annette



    Finally caught this on Mubi and if you're familiar with the work of Leos Carax then you'll know you're in for one wacky trip. Unfortunately, I think the excess absurdity of Carax's musical soap opera is what ultimately sinks it.

    While I was expecting to be whisked away by a rapturous romantic flight of fantasy, I was instead smacked back down to reality with a relatively silly albeit ambitious tragi-dramedy of musical word that feels both despondent and heavy handed…

  • The Power of the Dog

    The Power of the Dog


    Simmering with both menace and magnetism, Benedict Cumberbatch is at his career-best in Jane Campion's beautifully realised western.

    Set against the roaming vistas of 1920's Montana, The Power of the Dog is an exploration of desolation and resentment where the life of the unbalanced but charismatic rancher Phil Burbank (Cumberbatch) is disturbed by the arrival of his brother's (Jesse Plemons) new wife and son (Kirsten Dunst and Kodi Smith-McPhee). What begins as an inhospitable welcome soon reveals hidden truths that…

  • Eternals



    If you think this film is worse than Iron Man 2, Thor, The Dark World, The Incredible Hulk and Black Widow, you must be all on crack.

    Bold, visually arresting and bursting with ideas. It's only big problem is that it's TOO BIG of a film just for one film, and at times it does begin to crumble under its own weight.

    But who cares? I was just delighted to see a visionary like Chloé Zhao willing to bring humanity to the superhero genre and upset the established order of routine blockbuster filmmaking.

    Marvel, more please.

  • The Rental

    The Rental


    This was an unexpected treat.

    What begins as an uneasy relationship drama soon descends into something far more sinister. More surprisingly though, this is an excellently constructed chiller from actor Dave Franco making his directoral debut. He maintains the simmering tension perfectly with none of the twists feeling forced or random - they're made to propel the story forward leading to a nerve-shredding third act.

    And at an economical 88 minutes, it never outstays its welcome. While though some may bark at its ambiguity in the final scenes, this is smart and genre-blending horror at its most satisfying.

  • Underwater



    This was an unexpected treat.

    Derivative as hell but tightly executed and solidily acted. There's nothing in Underwater that you haven't seen before - there's the smart, quick-thinking heroine (Kristen Stewart and her underwear), the annoying "funny guy" (the annoying T.J. Miller), the moody but self-sacrificing captain (Vincent Cassel), the hysterical one (an under-used Jessica Henwick)... the list goes on. There's even the expendable black guy who unfortunately has the films ickiest death.

    There's the inevitable nuclear explosion...
    the surviving…

  • Geostorm


    More like GeoShite.

  • Cats


    Cats and Taylor Swift are the worst things to happen to cats since Halle Berry and Catwoman.

    Excruciating nonsense.

  • Star Wars: The Rise of Skywalker

    Star Wars: The Rise of Skywalker


    I ain't much of a Star Wars fan so I wasn't expecting much but c'mon... a bit of imagination would've been nice.

    I can imagine a writers table - quivering white, all-male, adult-virgin nerds barely gripping their red pens, furious at how The Last Jedi had the AUDACITY to try take a weary franchise in a new direction.

    Que some Disney big-wigs, slamming fists on the desk and stuff: "800 million dollars less, less toys sold... fix it, nerds, FIX…

  • 1917



    An extraordinary cinematic feat for director Sam Mendes.

    1917 exceeds all expectations regarding technical aspects of creating a film like this. Roger Deakins cinematography is gorgeous but also immersive - from the blood-soaked muds our heroes clamber through to the burning ruins of a French borough - Deakins and Mendes make sure we're in there with the two young messengers. The single-shot, one take technique (albeit with some nifty digital trickery) makes the audience feel every dangerous step Cop. Lance…

  • Touch of Death

    Touch of Death

    Oh, Mr. Fulci, why?!

    Lucio Fulci attempting black comedy is like Michael Bay making a stab at subtlety... awkward and uncomfortable on every level.

    Touch of Death is deathly unfunny, mind-numblingly dull with some of the crappiest gore FX I've ever seen. The saddest thing is though it's completely devoid of Fulci's usual mastery and instead we get some inane goofiness that's just painful to watch.