The 2000s were defined by franchise ambition and digital transformation, with studios betting big on serialised spectacle while world cinema found new urgency in films like City of God. It was a decade that rewarded patience, building stories across years and sequels. See what Macca made of it all in the reviews below.
Rating: 3.5★
Whisky is a strange one to recommend. On paper, everything about it should be a chore, and yet I found it quietly gripping in a way I did not see coming. That almost never happens to me with films like this, and I am still not entirely sure how it
Rating: 2.0★
I'll say this for Profit Motive and the Whispering Wind: I understood exactly what it was going for. And understanding what a film is going for is, unfortunately, not the same thing as enjoying it, or even finding it fully alive as a piece of cinema. John Gianvito&
Rating: 3.0★
Ousmane Sembène spent his whole career pointing his camera at injustice, and Moolaadé turned out to be his last word. That alone gives it a particular weight. When a filmmaker of his stature, widely considered the father of African cinema, chooses this as the thing he leaves behind, you sit
Rating: 3.5★
Few things in a thriller satisfy quite like being unable to guess what comes next, and A Tale of Two Sisters kept me wrong-footed almost the whole way through. I'd settle into what felt like a firm theory, the pieces seeming to click into place, and then
Rating: 4.0★
I have found myself falling hard for Iranian cinema of late. Alongside the Japanese and the Korean, it has become one of the national traditions I most look forward to exploring, and the films keep rewarding the attention. So many of them are built around revolution, or quiet defiance, or
Rating: 3.0★
The main reason to seek out Real Women Have Curves right now is to watch a future star at the very beginning. This was America Ferrera's first feature film, more than two decades before her showstopping monologue in Barbie reminded the world just how good she is, and
Rating: 3.0★
You cannot watch Anvil! The Story of Anvil without This Is Spinal Tap playing somewhere in the back of your mind. I don't mean that as a backhanded compliment or a cheap joke. It's just that the parallels are so striking, so eerie, that you'
Rating: 3.5★
I have watched and written about a lot of Wes Anderson by now, enough to call him one of my favourite directors, though I would stop short of calling him one of the best, and I think that distinction matters. The two are not the same thing. A favourite is
Rating: 2.0★
Let me lay my cards on the table before we go any further: experimental, avant-garde cinema has never really been my thing. I find it fascinating in theory and frequently maddening in practice, and A Visit to the Louvre is about as pure a test of that tension as
Rating: 4.5★
A man finds oil, drills it, and gets rich. That is genuinely it. On paper, the plot of Paul Thomas Anderson's epic is staggeringly simple, and yet what he does with that bare-bones premise is something remarkable. This is a towering, standalone classic of modern cinema, and
Rating: 2.0★
Let me be honest with you: I only watched White Chicks to tick a box. Specifically, a box on the Letterboxd list "Top 250 Most Fans", which meant sitting through Keenen Ivory Wayans's 2004 comedy purely in the name of completionism. I have nobody to blame
Rating: 3.5★
Before Yorgos Lanthimos became an awards-season fixture with the likes of The Favourite and Poor Things, he made this, and what strikes you immediately is how fully formed his sensibility already was. The flat, deadpan strangeness, the refusal to wink at the audience, the sense that horror and absurdity
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