Action cinema, at its best, is pure kinetic storytelling: movement, stakes and consequence fused into something visceral. From the disciplined fury of Seven Samurai to the operatic scale of The Dark Knight, the genre rewards directors who treat spectacle as a means rather than an end. Browse Macca's reviews below to see which films clear that bar.
Rating: 3.0★
"Mother of mercy, is this the end of Rico?" It's one of the most quoted final lines in film history, and the fact that you probably already know it tells you everything about the strange position Little Caesar occupies. This is a film that matters enormously,
Rating: 2.5★
Jason Momoa is doing something in Fast X, I'm just not entirely sure it belongs in this film. He's prancing about, cracking jokes, painting his nails, and chewing scenery like he's been told the cameras are rolling on an entirely different franchise. And here&
Rating: 2.0★
There's a moment in F9 where two characters are launched into actual outer space in a modified car strapped to a rocket. Not metaphorically. Not in a dream sequence. Into orbit. And the film just... carries on, as if that's a perfectly reasonable thing to happen
Rating: 3.0★
Here's a confession: I went into Hobbs & Shaw expecting very little. The Fast & Furious franchise had, by 2019, become so bloated with mythology, resurrection arcs and Vin Diesel staring meaningfully into the middle distance that the idea of a spin-off felt like scraping the barrel.
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: 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★
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: 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,
Genre Action
★★★½ — A Better Tomorrow (1986)
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