It is clear that Cloud is a well-made film with effective cinematography and performances. It’s just a shame that the narrative isn’t stronger and more confident in what it is trying to do or say.

Ultimately, The Running Man (2025) is a curious beast: a film that wants to critique spectacle while indulging in it, that gestures toward emotional depth but never earns it.

If you’re here for scale, spectacle, and a smartly realised peek into the Predator society, Badlands is a satisfying hunt.

One Battle After Another is an instant classic: a restless, thrilling action flick that’s concerned not with some war in a fictional universe or far-off land, but an honest-to-god boots-on-the-ground war within modern America.

it is a delight to see The Toxic Avenger uncut and in its full glory after two whole years sitting on the post-festival shelf, and if it also ends up getting more eyes on its ‘84 cousin, I'm all here for it.

Superman is a soaring and triumphant comic book adaptation that deeply understands its source material and unabashedly celebrates the massive heart of its main hero.

Blumhouse’s fave bratty ‘bot returns in Gerard Johnstone’s M3GAN 2.0, a sequel that swaps the eerie off-kilter vibes of the original for a broader, brasher techno-thriller.

Unlike other live action remakes, How to Train Your Dragon is not a chore to watch. You won’t feel anything new that you haven’t already felt before from this franchise, but it’s a hell of a ride.

As with any spin-off, it’s difficult not to compare what you are watching to the original; needless to say, Ballerina embraces this challenge by continuing to change the form of what we know the world to be, innovating its tropes and style.

Karate Kid: Legends is a mixed bag, but it’s enjoyable enough that it will still have audiences cheering by the time the credits roll, and kids begging their parents for karate lessons on the ride home.

The phrase gets thrown around a lot these days, but Mission: Impossible - The Final Reckoning really does demand to be seen on the biggest screen possible.

The cast of Thunderbolts* being played as antiheroes does a decent job of shaking up the superhero formula enough, while remaining true to its roots for fans of the genre.

There is a lot to like about Sinners for any movie-goer.

The equal helping of fights and jokes should be guaranteed to make action aficionados laugh and comedy connoisseurs flinch.

Warfare does an incredible job of fulfilling what its creators set out to do: to present the SEALS in as authentic a way as possible, and simulate a real life combat scenario.

The Count of Monte Cristo, directed and written by french duo Alexandre de La Patelliere and Matthieu Delaporte, is a three hour epic worthy of the source material.

As I watched Kraven the Hunter, I couldn't help but reflect on my experience with the Sony universe on the whole. Is it really possible that this was ever going to work?

Gladiator II is an ambitious film in desperate need of a shorter run time, but elements of creativity shine through.

While Venom: The Last Dance can’t quite save Sony’s universe, it is still leaps and bounds ahead of some of its other entries.

From my formerly substantial experience with the Transformers fandom I can say that this will please them, and whether you choose to interpret that as an indictment on them is up to you!