American cinema stretches from the silent comedies of Buster Keaton, The Cameraman among them, through to the sharp, funny indie work of films like Booksmart. It's a tradition wide enough to hold big-studio spectacle, low-budget horror, and everything in between. Browse Macca's reviews below.
Rating: 3.0★
There are films that arrive quietly and find their audience over time, and then there are films that kick the door in. Clive Barker's Hellraiser, released in 1987, belongs firmly in the second category. Adapted by Barker himself from his own 1986 novella The Hellbound Heart, the film
Rating: 3.0★
By the mid-1990s, the Batman franchise was one of the most commercially powerful properties in Hollywood. Tim Burton's 1989 original had proved that a superhero film could be taken seriously as a piece of cinema, and its 1992 follow-up Batman Returns pushed the gothic, expressionist aesthetic
Rating: 2.0★
The "stranded together" romantic comedy has been a reliable staple of popular entertainment for decades, from classic screwball pictures right through to the wave of made-for-television romances that now dominate streaming schedules at the weekend. Lost in Paradise (2026) slots neatly into that tradition: a fashion
Rating: 3.5★
The summer of 1967 was, by any reasonable measure, a peculiar and fascinating moment in American cultural life. The counterculture that had been quietly gathering momentum through coffeehouses and college campuses suddenly felt as though it had tipped into something bigger, louder, and altogether more colourful. The Monterey International Pop
Rating: 3.0★
By 1992, Tim Burton had already proven with Batman (1989) that a superhero film could be genuinely strange and still pull enormous crowds. That first outing had been a cultural event, reshaping how Hollywood thought about comic book adaptations and setting a visual template that lingered for years. Warner Bros.
Rating: 4.0★
Few sports controversies have lodged themselves in the public imagination quite like the 1994 attack on Nancy Kerrigan, a moment so bizarre and theatrical that it almost beggared belief even as it was happening. A kneecapping, a rink-side wail, a disgraced champion, and a cast of supporting conspirators who
Rating: 1.0★
There is a particular corner of low-budget genre filmmaking where Thailand and the United States occasionally meet, producing co-productions that are a little difficult to categorise and often equally difficult to track down. Dead Earth, released in 2020 under the banner of Kaos Entertainment, sits firmly in that
Rating: 3.0★
Released in October 2001, Joy Ride arrives at an interesting crossroads in American thriller cinema. The road movie as a vehicle for dread has a long and well-worn history in Hollywood, stretching back through the paranoid highways of 1970s genre films and most famously through Steven Spielberg's
Rating: 4.0★
Few films arrive with quite the weight of expectation that Capernaum carried into cinemas in 2018. Directed by Lebanese filmmaker Nadine Labaki and premiering at Cannes, where it won the Jury Prize, the film centres on Zain, a twelve-year-old boy living in the poverty-stricken backstreets of Beirut,
Rating: 4.0★
The early 2000s were something of a golden era for the prestige Hollywood epic, the kind of film that demanded a big screen and an interval ice cream, and The Last Samurai arrived in 2003 very much as a product of that moment. Set against the backdrop of the Meiji
Rating: 3.0★
There is a version of the DC Extended Universe that feels perpetually at war with itself, and then there is The Suicide Squad. Released in August 2021, James Gunn's film arrived carrying an unusual amount of baggage: it was simultaneously a soft reboot of David Ayer's
Rating: 2.0★
The Mummy is one of those properties that refuses to stay buried. From the Universal Monsters era of the 1930s through to the sun-baked, adventure-serial fun of the late 1990s and early 2000s, the franchise has proved remarkably elastic, bending itself to suit whatever the prevailing mood in
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