Reijn suggests that pleasure has an interstitial quality, making it neither good nor evil, only a key part of life.

Dating and relationships, especially in the modern world, can be a real horror.

As far as January horror movies go, you could do worse, but howling about Wolf Man, you will not be.

Nothing in the film really ‘fails’, per se, and if there were a universal, objective checklist of things that make a Good Movie–there isn’t, by the way–The Brutalist meets them all.

“What lies beyond” Moana 2’s eye-catching animation and lavish island and ocean scenes, is a celebration of culture and identity that Disney has somehow gotten right after so many ill-fated attempts at representation in recent times.

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?

Anora is a technical masterpiece - Baker’s approach to casting leads the audience to believe they’re watching a documentary instead of a drama.

It's passionate, isolating, creepy, and more than a little sexy.

Rumours is worth commending for its sheer gaul, but ultimately, it's biting off far more than it can chew.

Agnieszka Holland’s film Green Border (2023) is a harrowing but captivating story of  the journey of a family of Syrian refugees, as they travel towards the European Union.

Subverting expectations and blending genres, Your Monster is an endearing love letter to the ones who’ve had their hearts broken, and gives them permission to embrace their fury. 

Heretic is a film of two clashing identities. One is a simmering rumination on the evolution of modern day spirituality, and the other is a relatively by-the-numbers basement chiller.

Rise, musical theatre kids!

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

Goodrich may not be particularly groundbreaking, and there are definitely other slightly better movies out there like it. However, it’s so endearing that it is impossible not to be charmed, with Keaton being the pièce de résistance.

Here unfortunately stands as an excessively shmaltzy affair incapable of capitalising on the potential of its intriguing premise.

Memory is bleak and hopeful at the same time, anchored by two excellent performances and a tender approach that takes its subject matter seriously. It demands patience and won’t be for everybody, but succeeds nevertheless. 

Smile 2 is a worthy sequel that, while not quite as groundbreaking as its predecessor, still offers plenty of great elements.

Encapsulating the unpredictable freneticism which helped form the genesis of its namesake, Saturday Night offers a compelling, if imperfect, peek behind the veil which concealed the chaos.

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.