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: 2.0★
The zombie film has always been something of a canvas for social commentary, from George Romero's consumerist malls to the viral-panic anxieties that coursed through the early 2000s wave of fast-infected pictures. By 2025, the genre has been thoroughly charted: audiences know the beats, the archetypes,
Rating: 3.0★
On the 5th of November 1975, a group of forestry workers drove back into Snowflake, Arizona, with a story that the local sheriff and a fair portion of the American public found very hard to swallow. They claimed that their colleague, Travis Walton, had been struck by a beam of
Rating: 2.0★
There is a particular kind of sequel that arrives not out of creative necessity but out of commercial instinct, a follow-up built on the ruins of someone else's success and dressed up to look like continuation. Futureworld (1976) is that kind of film. Michael Crichton's
Rating: 3.5★
There is a particular pleasure in revisiting a film that arrived quietly, did modest business, and then spent the following fifty years proving itself right. Westworld, released in 1973, is exactly that kind of film. Written and directed by Michael Crichton, it imagines a sprawling luxury resort called Delos where
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★
By 1928, Buster Keaton had spent the better part of a decade building one of the most remarkable bodies of work in American cinema. Films like The General and Sherlock Jr. had established him not merely as a popular comedian but as a genuinely inventive filmmaker, someone who understood the
Rating: 4.0★
There is a particular strain of American indie filmmaking that strips everything back, no genre scaffolding, no high-concept hook, just a character wandering through their own life and hoping you find it as interesting as they do. Done badly, it produces films that feel like homework. Done well, it
Rating: 3.5★
The American high school comedy has been declared dead so many times that its survival at this point feels almost rebellious. From the anarchic spirit of Ferris Bueller's Day Off to the laddish chaos of Superbad, the genre has repeatedly found ways to reinvent its own formula while
Rating: 3.0★
Victor Hugo's 1831 novel Notre-Dame de Paris (better known in English as The Hunchback of Notre Dame) has had no shortage of screen adaptations, from the silent Lon Chaney version of 1923 through to the brooding 1939 Charles Laughton picture. By the time Disney came to the
2010s
Before the smartphone era made documentation effortless and ubiquitous, entire subcultures lived, thrived, and faded away largely unrecorded. The Shakedown parties that ran in Los Angeles from the late 1990s into the 2000s were exactly that kind of scene: a series of club nights founded by and for Black lesbian
Rating: 4.0★
The First World War has occupied British cinema for over a century, from the silent era newsreels shot a few miles behind the actual front line to the mud-soaked poetry of films like Paths of Glory and Oh! What a Lovely War. It is a conflict that refuses to
Rating: 2.0★
H.P. Lovecraft spent much of his life being ignored, misunderstood, or quietly horrified by the modern world, which makes it fitting that his work has spent the decades since his death being adapted, reinterpreted, and gleefully mangled by filmmakers who clearly adore the source material even when they'
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