Some movie tropes need to be thrown in a bin with other outdated, overused tropes and the bin needs to be set on fire.
Godzilla 2: King of the Monsters features some amazing visuals and awesome monster fights, though it isn’t enough to save it from its weak narrative.
If the sight of a Smurf-like Will Smith in the teaser trailers for Aladdin had you shuddering in your boots, you weren’t alone.
And really, that’s all there is to John Wick: Chapter 3 – Parabellum. The story is thin and the characters one-dimensional – but it’s a whole lot of fun.
The Realm opens inconspicuously – a man in a suit finishes a phone call while staring out to sea. The camera tracks him as he crosses the sand, walks up the grass to a restaurant, through the back door into the kitchen where he lifts a platter of shrimp and strides into the dining room of the restaurant.
Hollywood has yet to recover from the savagery that ensued Sony with the release of Paul Feig’s ‘sheboot’ of Ghostbusters (2016).
Many of us walk the streets emitting a faux attitude, a perception of ourselves we have crafted under false pretences that others are judging us for our behaviour.
Alongside Homer Simpson and SpongeBob SquarePants, electric fluff-ball Pikachu joins the ranks of beloved ‘90s yellow cartoon characters to receive the live action treatment with Pokémon Detective Pikachu.
Look, I get it. In today’s political climate, you head to the cinema to escape from the saturation of mainstream media and spend a few hours completely oblivious to the dire state of the world. The last thing you want to buy tickets to is another Hollywood US presidency film. But trust me, Long Shot is different.
Avengers: Endgame brings the eleven-year-long story arc of the MCU to a close on a grand scale that’s sure to please anyone that’s been following along.
If films had a signature scent, The Chaperone’s would be mothballs.
Thunder Road started out as a 12-minute Sundance Festival short and has morphed into an hour-and-a-half character study of this square-jawed policeman singing, dancing and weeping his way through his mother’s eulogy.
The manner in which The Curse of the Weeping Woman divulges into cheap horror tropes is a greater curse on the overall film than the problematic curse in its storyline.
‘Ola De Crimenes’ (Crime Wave) throws you straight into the rollicking, over-the-top absurdity of Spanish comedy.