Marry Me is cliché-packed but entirely endearing, making for a mostly enjoyable musical rom-com.
Roland Emmerich dips his toe back into the doomsday movie genre once again with Moonfall. This time the biggest disaster is the movie itself.
Jane Campion’s The Power of the Dog sees the Kiwi director again displaying her under-praised and little-spoken genius.
“Keep noise to a minimum, they can hear you” is the overarching phrase that haunts the retelling of the tragedy in Spencer.
Guillermo del Toro directs the latest adaptation of Nightmare Alley based on the 1946 novel by William Lindsay Gresham.
The famous horror franchise Scream is back with a new entry in 2022, though it lacks new ideas and isn’t very scary.
In the Greek myths, Cassandra, the daughter of King Priam of Troy, was afflicted by the gods with the curse that she would have accurate knowledge of future events but that nobody would ever believe what she said. Scientists in movies are the modern Cassandras.
It’s interesting to see that after a questionable sequel, the Kingsman movie creators believed the natural solution to be an even more questionable prequel with The King’s Man.
Joel Coen (of the renowned filmmaking siblings) adapts the illustrious Shakespearian tale, Macbeth, in a stripped-back yet enthralling fashion in The Tragedy of Macbeth.
The Ghostbusters are finally back in Ghostbusters: Afterlife, a nostalgia trip with very few original or intriguing ideas.
Steven Spielberg’s West Side Story may be the director’s greatest achievement to date. Spielberg has flipped the script and directed his childhood passion project, a musical, to fantastic effect.
Licorice Pizza is a charming yet unforgivingly problematic addition to director Paul Thomas Anderson’s directorial lineup in what can only be described as a teenage boy’s wet dream.
The Matrix Resurrections expands on its original concepts but watching the film becomes a chore with the sheer amount of information there is to absorb.
Bergman Island is a compelling indie tale with a meta twist.