Cinema in the 2020s has been defined by disruption: streaming upended theatrical habits, the pandemic forced a rethink of what a film release even means, and audiences have increasingly embraced subtitled films like How to Make Millions Before Grandma Dies alongside big animation and documentary work. Macca's reviews from the decade reflect that breadth. Browse what he's made of it below.
Rating: 3.0★
The hype around Flow had been building for months by the time I finally sat down with it, and I'll be honest: I went in expecting something genuinely special. What I got was a decent, engaging animated film that left me a little cold, and mostly because critics
Macca's Must Watch
Where do you even begin? That's the question I kept asking myself as the credits rolled on All That's Left of You, and I still don't have a clean answer. What I do have is the feeling of something sitting heavy in my chest,
Rating: 3.5★
Two sisters. One mosquito net. Something outside that wants in. That's all Moshari needs, and the fact that it pulls off what it pulls off in the space of a short film is genuinely impressive. I quite enjoyed this one, and I think if you give it ten
Rating: 2.5★
There's a moment early in Tiger Stripes where you can feel the film it wants to be, and it's a genuinely exciting one. A young Malaysian girl, Zaffan, becomes the first among her friends to menstruate, and the world around her shifts in that quiet, cruel
Rating: 1.5★
There's a particular kind of disappointment that comes not from a film being offensive or catastrophically misguided, but from one that simply fails to justify its own existence. Megdan: Between Water and Fire (released in the UK as Return to the Ring) is that kind of film. It&
Rating: 3.5★
Let me be upfront about something: I never quite clicked with Fury Road. I know that puts me in a minority, and I know the reaction I get when I say it. But it's true. I found it relentless in a way that felt exhausting rather than exhilarating,
Rating: 1.5★
There's a certain kind of horror film that doesn't make you angry, doesn't make you scared, doesn't even make you laugh. It just sits there, on your screen, doing roughly the right things in roughly the right order, and then it ends.
Rating: 3.0★
There's a moment about halfway through Lingui, the Sacred Bonds where the camera simply watches a woman work. No dialogue, no dramatic score, just hands moving and the sounds of daily labour filling the frame. It's the kind of moment that either locks you in completely
Rating: 2.5★
There's a version of She Paradise that I think would have been genuinely special. You can feel it in the bones of the thing, in its colours and its music and above all in the young woman at its centre. Director Maya Cozier clearly has a gift for
Rating: 1.5★
There's a version of Pacifiction that I would have loved. A French colonial administrator drifting through the bars, beaches and clubs of Tahiti, wielding soft power with a smile, colliding with locals in ways that expose something ugly and true about privilege and empire. That film sounds genuinely
Rating: 3.5★
There's a question at the heart of Simón that I couldn't shake long after the credits rolled: what does it actually mean to fight for something? Not in the abstract, flag-waving sense, but in the grinding, personal, what-do-I-owe-this-cause sense. Diego
Rating: 3.0★
There's a moment early in You Won't Be Alone where the landscape itself feels like a character, brooding and enormous and indifferent to the tiny, violent lives being lived across it. That image lodged in my head. It's the kind of film that gets
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