Tenet is every bit as expansive, bombastic, polished and bewildering as you might expect of a new Christopher Nolan film. A blockbuster filmmaker who’s never shy of putting faith in his audience, here he’s made a film that whilst is as ambitious as anything he’s done before, might just be the most perplexing entry in…
A seemingly never-ending 142 days on from last being able to catch* a new release at the cinema** (my last being Pixar’s delightful Onward), the theatre-going experience is finally back!***
Of the smattering of “Originals” to launch with Disney Plus, the Mouse House’s shiny new streaming service, it’s Lady and the Tramp which stands as its headliner in the movie department. Because as we know, if there’s one thing that guarantees bums on seats for Disney, it’s lifeless live-action remakes of their classic animations.
We’ve seen how tricky it can be to successfully follow the Marvel model of cinematic world-building. Universal’s Dark Universe stumbled at attempt number one with The Mummy. Guy Ritchie tried in vain to launch a King Arthur-verse. Even DC have had their tribulations with the DCEU. Now comes the turn of Valiant Comics, who arrive…
Hark! All herald the return of writer/director Robert Eggers, back with his long-overdue follow up to 2015’s The Witch, a film which The Lighthouse shares much of its DNA with.
A delightfully Armando Iannucci-fied take on Charles Dickens’ classic novel, The Personal History of David Copperfield tackles 19th century England’s class system and societal struggles through the eyes and words of one man who walks the line between the lower, upper and middle classes.
The RIse of Skywalker is a whole lot of Star Wars for one movie. Packed to the rafters with both fist-pumping highs and confounding lows, it’s a messy, emotional, frustrating and exhilarating conclusion to the decades-spanning saga.
“Last Christmas I gave you my heart…”
System crasher: a foster child who has repeatedly broken every given rule until the system built to support them runs out of options. Until they become un-fosterable, too young to be put in closed care, but too much of a danger to be taken in by those caring for other children. Benni (Helena Zengel) is…
Sprawling, ambitious, beautifully performed, edited and shot, The Irishman is a welcome return to the criminal underbelly of America for Martin Scorsese.
Beep beep! Roll up for a return trip to Pennywise’s twisted funhouse. Mosey on in, he only bites a bit.
Quentin Tarantino’s ode to Hollywood’s past might just be his most eccentric offering to date.