Rating: 3.5★
There's a moment in Fast Five where two cars drag an enormous steel vault through the streets of Rio de Janeiro, flattening police vehicles like tin cans and carving a path of gleeful destruction through the city, and I remember sitting there thinking: yes. This is exactly what
Rating: 2.0★
There's a version of This Is Not a Test that really works. You can see it in the opening minutes: running zombies, genuine chaos, a rawness to the staging that feels earned rather than cheap. For a low-budget indie, the early commitment to practical effects and claustrophobic
2010s
There's a particular kind of discomfort that comes from watching someone else's home movies. Birthday cakes, family gatherings, a child's first steps, all of it flickering on grainy VHS tape, intimate in a way that feels almost intrusive. Agustina Comedi's documentary Silence
Rating: 3.0★
There's one sequence in Fire in the Sky that I genuinely cannot shake, and I've been turning it over in my head ever since the credits rolled. You'll know it when you see it. Extended, clinical, suffocating. It treats the alien abduction not as
Rating: 2.0★
Not every film deserves a sequel. Some stories end, full stop, and trying to continue them only exposes how much of the original's power came from its simplicity. Futureworld is a textbook case. Directed by Richard T. Heffron, it picks up two years after the catastrophic events of
Rating: 3.5★
There's a moment in Westworld where the holiday is over and the horror begins, and Michael Crichton makes you feel that shift in your gut before you've even fully registered it. One second you're watching two blokes larking about in a cowboy fantasy, the
Rating: 2.5★
When Disney announced that The Mandalorian would be making the leap from Disney+ to the big screen, the reaction was roughly split between cautious optimism and weary scepticism. The series had been a genuine bright spot in the post-Rise of Skywalker wilderness, winning over audiences with its stripped-back,
Rating: 2.5★
There's a moment in The Cameraman where Buster Keaton shares a tiny changing cubicle with a large stranger, and the two men contort themselves into increasingly impossible arrangements trying to get dressed without making eye contact. It's brilliantly choreographed, genuinely funny, and over in about ninety
Rating: 4.0★
There's a moment in Frances Ha where the title character describes her ideal relationship as two people who are so in sync they don't even need to talk across a crowded room, they just look at each other and know. It's the kind of
Rating: 3.5★
There's a moment early in Booksmart where you realise this isn't just going to be another end-of-school comedy coasting on nostalgia and gross-out gags. It's sharper than that, and warmer than that, and it knows exactly what it's doing.
Rating: 3.0★
There's a moment in "Topsy Turvy" where the animation just explodes off the screen: crowds swirling, colours colliding, the whole frame crackling with a kind of joyful, controlled chaos. It's one of the most technically dazzling sequences Disney has ever produced, and it'
Rating: 3.5★
There's a moment watching No Dogs or Italians Allowed when you realise you've stopped thinking about the craft and started feeling the story. That's the trick Alain Ughetto pulls off here, and it's no small thing. The film announces itself immediately as
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