Meandering along a very well-worn path, Embryo constantly blends genres, tone and purpose, and at times its incoherent nature makes for a lack of an emotional connection.
Arthouse horror is a subgenre that is difficult to master. It serves tough topics through rawness and bloody spheres. Lee Haven Jones’ debut feature, The Feast, is a decent entry into the sub-genre that mixes oddness with the vicious slits of gore while tackling class and identity.
The Equalizer (2014) meets John Wick (2014) in the new Bob-Odenkirk-starring action crime-thriller with a dash of comedy, Nobody.
After an excessively long hiatus between screen outings, the iconic Tom and Jerry make brief cameos in their most recent feature.
Two of cinema history’s largest and most profitable titans clash in the epic next instalment of the Monsterverse, Godzilla vs Kong.
After the abysmal 2017 version disappointed fans, Zack Snyder and HBO Max give fans what they’ve wanted for years – Zack Snyder’s Justice League – the director’s true (and much improved) take on the titular superhero gang.
How it Ends is an end-of-the-world quirky comedy starring Zoe Lister-Jones (who also co-writes and directs).
Violation takes a different tone in covering a complex topic, getting all the “subgenre regulations” out of the way, both for better and worse.
There are many films that deal with unwanted pregnancies and the different ways of handling them, but none as inventive as Ninjababy.
Since its premiere at the 2020 Sundance Film Festival, audiences have heard great to amazing things about The Father and Anthony Hopkins’ performance in the film.
With Godzilla vs Kong set to drop soon, we take a retrospective look at the divisive American reboot of Godzilla (2014).
Nicholas Jarecki’s Crisis seeks to unveil the stigma behind addiction and raise awareness about the opioid epidemic affecting so many in the world right now.
Michelle Pfeiffer dives into her most spirited role in years, playing a widowed New York socialite who shifts her and her son’s mundane life to Paris in the utterly surreal comedy, French Exit.
Come True takes audiences on a deep dive into the psyche of a troubled teen battling her inner demons of mental illness, sleep disorder, and broken home life.
After working as an assistant director for Yorgos Lanthimos and Richard Linklater, Christos Nikou gives us his directorial debut film, Apples.
Cosmic Sin is a Bruce Willis and Frank Grillo-starring sci-fi film that’s so bad it has little-to-no redeeming qualities.
One of the most famous and alluring exports of modern Spanish cinema, Pedro Almodóvar, is back with a new short film, The Human Voice.
Chloé Zhao directs Nomadland, a remarkable and moving story of loss and how it affects those left behind.
Quo vadis, Aida? is based on a harrowing true story about the atrocities of war in mid-90s Bosnia.
Raya and the Last Dragon feels like a production-line addition to Disney’s animated films that ticks all the boxes but delivers nothing unexpected or of unique value.
Director Quentin Reynaud’s Final Set is an off-beat sports tale centred around an ageing tennis protege who dreams of becoming something more while tackling some taxing personal problems.
