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★
Let's be honest: Kevin Costner doing a Midwestern accent in medieval England shouldn't work. And it doesn't, really. But here's the thing about Robin Hood: Prince of Thieves. It doesn't need to work perfectly to be a genuinely good time.
Rating: 3.0★
There's something almost perverse about a film that traps its audience in a phone booth for eighty-odd minutes and somehow makes it work. Phone Booth shouldn't hold together. On paper it sounds like a gimmick, a pitch you'd scribble on a napkin, and
Rating: 2.0★
There's a moment in The Fate of the Furious where a nuclear submarine bursts through Arctic ice and chases a convoy of cars across a frozen sea. I sat there watching it and didn't feel excitement. I felt tired. That's not the reaction F.
Rating: 2.5★
There's a version of Furious 7 that exists purely as a blockbuster, and then there's the version that actually plays out on screen, the one that carries the weight of Paul Walker's death in every quiet moment between the chaos. You can't
Rating: 2.0★
There's a moment in Fast & Furious 6 where a car, tethered to a military transport plane, is used as a kind of wrecking ball across a runway that apparently stretches the length of a small country. People leap between vehicles doing 200 mph. Bodies absorb impacts that
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
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
Film images and data courtesy of TMDB. This product uses the TMDB API but is not endorsed or certified by TMDB.
The best new reviews, a buried gem with where to watch it, and where the every-country challenge is up to. Free, no spam.
Subscribe free