Examining the partition of Germany after World War II, the director’s latest is an unsparing portrait of a nation torn apart by the competing influences of nationalism and authoritarianism.

Wild Horse Nine is a ‘boring’ spy thriller, and it’s all the better for it.

Deeply informed by his experience as a playwright and novelist, Lee’s expert command of dialogue and scenography turns what could have been a weighty diatribe into a cerebral and humanistic breeze of a film.

Sundays resists descending into a heated philosophical debate over the existence of God or the legitimacy of religious devotion. Instead, it focuses on the consequences of Ainara’s holy decision and the chaos it unleashes.

Sadly, Klara and the Sun is not a return to form for Waititi. It is fun and entertaining, with a truly wonderful turn from Ortega, but fails to reach both the comedic and emotional heights of the director’s greatest hits.

Russo’s film meets all the requirements of a fable, short and sharp? Check. Talking animals? Check. A lesson to be learnt? Check. It’s a wonderfully funny tale, one that I’ll keep coming back to for its critique, and one that will make me scrutinise the local pubgoing couples a bit harsher in my stares.

Clayface is by no means a bad movie. While it has a solid premise, the quality is as fluid and shapeshifting as the eponymous character.

This forces Brian Duffield to ponder the question every man must ask once in his life: “How do I film a guy inside a whale?”

40 years ago, the release of Street Fighter made waves across video games and mainstream media, leaving a huge impact on anything it touched. 24 hours ago, Street Fighter (2026) premiered and I’m struggling to think of anything that made it unique.

Too much is done to didactically modernise the two and hammer home the central conflict of the novel: when should we be respectful and reserved and when should we be brash and honest?

Be sure to see Forgotten Island while it’s still in theatres. It is genuinely well-crafted, humorous, mature, and it speaks deeply into the human soul and what it means to have a friend.

La Bola Negra is undeniably a sweeping and decadent feat of filmmaking. It’s also the kind of politically complacent Oscar bait that should have been left in the past.

The question hanging over Sorkin’s head is whether he can steer his bastardised ship home to even an ounce of the filmmaking glory that Fincher achieved in 2010. As soon as the first intertitle –“Prologue: White Girl Wasted” – flashes up onscreen, it’s clear that he absolutely can’t.

The film is a political satire that plays on numerous different current affairs like the climate, the threats of nuclear war, and the rich businessmen who have swooned the heart of our politicians. But believe me, even by those descriptions, it is still somehow not what you think it is.

While this is certainly no Gone Girl, Verity is highly watchable, and is best consumed by suspending reality and not taking it too seriously.

While Heart of the Beast is not without its flaws, its heartfelt central relationship, beautiful cinematography, and emotional conclusion make it an enjoyable survival drama.

Once the film's title card comes along, there’s no turning back, and what follows is a fast paced, anxiety filled, jumpscare packed journey with an incredible end.

The Weight is a film that may not linger for an exceptionally long time due to a conventional script. However, thanks to well crafted tension and thrills, it makes for a very entertaining watch for the majority of its runtime.

28 years after the release of the cult classic original, Practical Magic 2 returns to give the audience the magical hijinks they’ve been waiting for – without any meaningful substance.

Na Hong-Jin’s first film in a decade is a three hour long sci-fi epic that is anything but.