Rating: 3.5★
Picture the grim, tactical intensity of Heat colliding head-on with the sun-drenched, wave-riding vibes of Blue Crush. That is the gloriously absurd reality of Kathryn Bigelow's 1991 classic, and I mean that as the highest possible compliment. Point Break is a film that should not
Rating: 3.5★
There is a deeply unsettling genius to the way David Robert Mitchell frames a suburban street. The camera slowly, deliberately pans across wide-angle shots of empty neighbourhoods, and suddenly you find your eyes darting frantically around the screen, hunting for that next dull-eyed figure casually walking towards the
Rating: 2.0★
I'm not inherently opposed to a zombie comedy. When done right, blending the undead with sharp, dark humour can yield absolute classics. From Shaun of the Dead to the chaotic fun of the Return of the Living Dead series, the genre has proven it can handle laughs and
Rating: 3.0★
Let's get one thing straight before anything else: the suit in this film is the best Spider-Man suit ever put to screen, full stop. That textured, crimson-and-blue design, worn by Andrew Garfield's lanky, skater-esque frame, gave the character a kinetic, grounded agility
Rating: 3.5★
There is a specific, haunting beauty to the way Roger Deakins shoots a train robbery in the dead of winter. Lantern light catching frozen breath, the world rendered in blues and greys and that particular silence that only deep snow can create. That single sequence tells you everything you need
Rating: 3.0★
Rachel Sennott made me queue this up. Simple as that. After being completely won over by her in Shiva Baby and Bottoms, I knew she was one of the most exciting young comic performers working right now, and I wasn't about to let a slasher-comedy with her
Rating: 2.5★
I'll hold my hands up straight away: I'm not the biggest fan of the modern superhero industrial complex. There's a formula, and almost everybody sticks rigidly to it. You get your quippy hero, your globe-trotting set pieces, and then, inevitably, a third act
Rating: 2.0★
It took me watching two separate Andrew Garfield-led Spider-Man films to suddenly realise that the director's surname is Webb. I found that delayed epiphany significantly more amusing than anything that actually happens on screen in The Amazing Spider-Man 2. When a sequel leaves you more
Rating: 4.0★
Let's get one thing straight: It's a Wonderful Life is not the cosy, feel-good Christmas card its reputation suggests. I went in half-expecting warm cocoa and sleigh bells, and what I got was something far more unsettling, and far more impressive, than that. The
Rating: 3.0★
Ten films deep into a director's back catalogue and you start to think you know what you're getting. With George A. Romero, I thought I had a reasonable handle on it: sharp social commentary wrapped in viscera, monsters as metaphor, chaos as critique. Then I sat
Rating: 3.5★
Sometimes you don't need much of an excuse to queue something up. I came to Dario Argento's 1970 directorial debut for two reasons: Argento himself, and Ennio Morricone. And honestly, Morricone was the more pressing of the two. I genuinely consider him the finest composer in
Rating: 4.0★
Let's talk about practical effects, because if any film makes the case for them over weightless, pixelated CGI, it's this one. The Fly is the gold standard of body horror, and the reason it works so ferociously well comes down to latex, foam, and fake blood
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