The 2010s were defined by a tension between blockbuster spectacle and a quiet surge in world cinema, with films like Inception and Parasite sitting at opposite ends of a very wide spectrum. Streaming reshaped how audiences found smaller work, and festival circuits felt more vital than ever. Browse Macca's reviews from the decade below.
Rating: 3.5★
The zombie comedy, or zom-com if you prefer the shorthand, has been a recognisable genre hybrid since at least the early 2000s, and by 2015 the form had settled into something approaching a comfortable formula: self-aware humour, a group of unlikely survivors, and a careful calibration of laughs
Rating: 3.5★
Lynne Ramsay has never been a director interested in comfort. From the suffocating council-estate grief of Ratcatcher (1999) to the cold, forensic dread of We Need to Talk About Kevin (2011), she has spent her career making films that sit in the chest like a stone. You Were Never
Rating: 4.0★
Los Angeles at night has always been fertile ground for cinema's darker instincts, a city whose glossy surface conceals something considerably more unsettling underneath. Nightcrawler, released in 2014, taps into that unease with considerable precision, setting its story inside the world of freelance crime journalism, specifically the murky
Rating: 2.5★
There is a particular corner of European cinema that seems almost duty-bound to make its audience uncomfortable, and The Tribe, the 2014 Ukrainian drama from writer-director Myroslav Slaboshpytskyi, sits squarely in that tradition. The premise is both simple and disquieting: a teenage boy, Sergey, arrives at a residential
Rating: 4.5★
There is a particular breed of coming-of-age story that feels less like a plot and more like a memory, the kind where the specific details, a mixtape, a tunnel, the smell of a school corridor, do more emotional work than any dramatic set piece ever could. Stephen Chbosky&
Rating: 2.5★
Beatrix Potter's Peter Rabbit first appeared in 1902 as a privately printed picture letter, and the little blue-coated rabbit has been a fixture of British childhood ever since. The stories are gentle things: soft watercolours, a walled garden, a bad-tempered gardener, and the quiet moral that
Rating: 3.0★
Julia Donaldson and Axel Scheffler's picture book The Gruffalo's Child arrived in 2004, five years after the original The Gruffalo had become one of the best-selling children's books in British publishing history. Where the first book introduced a clever little mouse spinning predators
Rating: 4.0★
Jonah Hill is perhaps not the first name you would expect on a director's chair for a quiet, personal coming-of-age film. Best known as a performer across broad comedies and a string of awards-friendly supporting turns, Hill spent years quietly working on what would become
Rating: 3.5★
There is a particular kind of British Christmas television that asks very little of you and gives back rather a lot. Magic Light Pictures and the BBC have been quietly building that tradition since 2009, adapting the picture books of Julia Donaldson and illustrator Axel Scheffler into short animated films
Rating: 3.0★
Jonathan Glazer is not a director who makes things easy for himself, or for his audience. After a decade-long career directing music videos and commercials (most famously for Radiohead and Massive Attack), he moved into features with Sexy Beast (2000) and Birth (2004), two films that marked him as
Rating: 3.5★
American independent horror has always had a habit of finding fresh angles on old anxieties, and It Follows (2014) arrived at a moment when the genre was largely occupied with found footage fatigue and franchise reboots. Shot on a modest budget across the quiet residential streets of suburban Detroit, the
Rating: 3.0★
Few comic book characters have been rebooted as quickly, or as controversially, as Spider-Man. When Columbia Pictures parted ways with Sam Raimi following the mixed reception to Spider-Man 3 in 2007, the studio found itself in a familiar bind: relinquish the licence back to Marvel, or restart the
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