Heart Eyes is certainly a commendable addition to the horror-comedy genre, offering a refreshing take on the slasher formula without reinventing the wheel.

Stephen Soderbergh […], makes a return to experimental filmmaking with Presence: a modernised ghost story serving as a deliberate subversion of the genre itself.

Though Queer has all the ingredients of a great drama, its delivery misses the mark. 

If you’re looking for a film to watch with your family, this one won’t set your world on fire, but it’s sure to incite some excitement from younger audiences all the same.

If you enjoy thoughtful films and would like to explore a movie that doesn’t follow the “rules”, or give everything to you on a silver platter, this may be the perfect film for you as you escape the hot summer weather with a drink and an ice cream in an air-conditioned theatre.

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.

We Live In Time is a contemplative and slow-burning exploration of love, time, grief, and the human condition.

“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.

For the fans, Sonic 3 remixes and updates one of the most popular Sonic adventures in ways that bring a new speed to a classic narrative.

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.

In Parthenope (2024), Paolo Sorrentino explores youth, beauty, and the fleeting nature of desire, in an homage to the intoxicating allure of the Mediterranean coast, and living in the shadow of the male gaze.

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

This film proves that the rich cinematic style of Almodóvar transcends all kinds of language barriers. 

If you’re a huge fan of Love Actually and enjoy cringe-comedy that makes you laugh through second-hand embarrassment, this musical parody might be for you.

Under Streetlights is an appealing feel-good film from Australia’s outback core, and a triumph of independent Aussie filmmaking.

In fairness it is well elevated over some of its more pedestrian vampiric peers, but Thirst unfortunately falls just shy of brilliance.