Zendaya gives the best performance of her career in Luca Guadagnino’s ‘Challengers’, an electrifying sports drama with dazzling bravura tennis sequences that beg the trip to the IMAX theater.
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Moritz Mohr’s meta-actioner ‘Boy Kills World’ desperately wants to be a cross between Deadpool, Silent Night, and The Hunger Games, but its chosen tropes and tools completely sinks the movie.
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While the director has been responsible for some of the slickest action films of note, Guy Ritchie’s ‘The Ministry of Ungentlemanly Warfare’ is tragically and painfully average, and all things considered, doesn’t present much to warrant anything after an obligatory first watch.
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‘The First Omen’ is a traditional prequel in the way that it unfortunately fails to justify its own existence, falling into the busy chasm of efforts long lost, doomed to the same fate.
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While ‘The Old Oak’ isn’t as powerful as Ken Loach’s previous two films, its lead performances from Dave Turner and Ebla Mari intensify its dramatic impact and result in a must-see.
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‘Godzilla x Kong: The New Empire’, despite its hiccups, is a rare experience at the movies. There is something so irresistible about these beasts and the incredulity of their world that demands seeing it on the biggest screen possible.
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The new team of Ghostbusters has returned to the silver screen to rid New York city of more paranormal entities in ‘Ghostbusters: Frozen Empire’, an entertaining follow-up not without its issues.
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With a magisterial lead performance from Deniz Celiloğlu and an ever-gripping visual style, Nuri Bilge Ceylan’s 197-minute ‘About Dry Grasses’ may be the best film of his career.
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‘Love Lies Bleeding’ knows exactly what it is doing, even if the audience won’t predict where the story goes. The filmmakers make bold swings, whether through the film’s story, its performances, or its imagery, which creates a film that could only be described as ‘fearless’.
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Insanely comedic performances elevate the insanely impressive stunt masterclass of ‘The Fall Guy’ to the point of… well, insanity. Continue for our full SPOILER-FREE review.
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‘Arthur the King’ is arguably the best and most emotional film of the year - a true story about a dog’s resilience, pain, inspiration, life and belief as he goes from abuse and fighting for his life, to finding a family through the roughest conditions that the environment tends to throw at him.
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Don’t go in expecting to be blown away, and ‘Damsel ‘ should do just fine. Just make sure you’ve got your plot-armor, and possibly a few glow worms for safe measure, too.
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‘Monkey Man’ is a more human take on the classic revenge driven martial arts genre that escalates into a brutal and bloody triumph for the first time director Dev Patel. Continue for our full SPOILER-FREE review.
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SNL alum Kyle Mooney brings a 90’s teen disaster high-school comedy that is pretty rad… I guess. Continue for our full review exclusively from the 2024 SXSW Film Festival.
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‘Kung Fu Panda 4’ is a great addition to the beloved franchise, providing a balanced mix of entertainment and emotional depth. With the engaging plot and captivating visuals, this movie is an unforgettable journey that will leave the audience in awe.
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Fresh off the premiere at SXSW 2024, ‘Road House’ is entertaining in spite of a weak script that could have derailed the entire movie if not for great fight sequences and the unbridled chaos that is the films conclusion. Continue for our full SPOILER-FREE review.
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Amazon does it again with yet another comedic ride in ‘Ricky Stanicky’ - A movie filled with endless laughter, ribald jokes and an excellent supporting cast.
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Perhaps just when we needed a film like this, enter Netflix’s Spaceman - a deceivingly simple drama that does more than drink and dribble. Questions of love, time and space, and redemption float aimlessly among the cinematic stars, away from a grounded Adam Sandler who may have just delivered his best performance yet.
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Audiences at last can return to the planet of Arrakis in ‘Dune: Part Two’, a sequel that not only manages to surpass its predecessor in every conceivable way, but cement itself as one of the best sequels ever put to film.
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‘Drive-Away Dolls’ if nothing else, is a mindless B movie through and through. That’s not a bad thing in and of itself, but it will surely polarize audiences. Yet, considering that the film was made in the 2020s, is set in the 90s, and boasts a style which evokes the 70s, it achieves a level of kitsch that is rarely reached.
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