The DCEU is finally coming to a close with ‘Aquaman and The Lost Kingdom’, a sequel that may not reach the heights of its predecessor, but still delivers an entertaining sendoff for the cinematic universe.
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‘The Zone of Interest’ contains two masterfully calculated performances from Christian Friedel and Sandra Hüller, who accompany Jonathan Glazer’s terrifying visual and aural nightmare.
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Timothee Chalamet steps into the hat of the iconic chocolate maker in ‘Wonka’, a prequel that manages to charm and warm your heart in equal measure.
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Despite striking images from cinematographer Matthew Libatique, director Bradley Cooper fails to peer through the public façade of Leonard Bernstein in the ridiculously formless and inert ‘Maestro’.
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John Woo strips away dialogue in ‘Silent Night’, and delivers a no-holds-barred actioner that reminds us all why he’s one of action cinema’s greatest image-makers.
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Even by Disney’s own standards, ‘Wish’ is often too generic and predictable. For a film billed as a celebration of Disney’s centennial and a love letter to its lore, it only feels a fraction as special as it should.
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Whichever way you spin it critically, Eli Roth’s ‘Thanksgiving ‘has certainly been a financial success, and a sequel would be no surprise, despite the fact the film isn’t anything to truly be thankful for.
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‘The Hunger Games: The Ballad of Songbirds and Snake’ feels like a natural continuation of the Hunger Games cinematic franchise in just about every way, and may even go down as one of the most effective and well-managed prequels of this ilk.
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“May December” boasts an incredible lead trio of Julianne Moore, Natalie Portman, and Charles Melton, with Todd Haynes delivering his best directorial effort since 2015’s “Carol”.
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“How the Gringo Stole Christmas” my have some bemoan the film for refusing to give up tired stereotypes, while others will enjoy the familiarity and appreciate the flashes of originality. It’s certainly worth giving a try if you fall in the latter category, especially around Christmas.
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While ‘Saltburn’s flaws are glaringly apparent, the film is a massive improvement over director Emerald Fennell’s directorial debut, signalling a more assured and confident auteur who seemingly likes to elicit strong reactions from the audience, whether you want it or not.
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‘The Marvels’ is one of Marvel’s finest outings in Phase Five, delivering thrills, laughs, heart, and firm, exciting groundwork for the future of this cinematic universe. This may not feel as high-stakes as other films in this phase, but not every entry needs to be.
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The concept is simple -‘The Holdovers’ takes three distinct characters and throws them together so they can learn from each other. There is no magical happy ending, no false note, or easy resolution either: the story is realistic and bittersweet from start to finish, which creates a strange and relatable realism with the story.
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‘Priscilla’ shows that perhaps Sophia Coppola lost interest in the project at some point; haphazardly representing a harrowing tale of physical and psychological abuse with stiff and unintentionally hilarious acting from its two leads and few redeeming qualities in its presentation.
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‘Fingernails’ cannot save itself from being anything more than a ridiculously undercooked romantic drama despite impassioned performances from its lead actors. If it wasn't for them, the film might have been a disaster, but they save it from fizzling out any further.
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While it may not rank up there with Seven or Zodiac, ‘The Killer’ is another solid addition to the David Fincher filmography that makes up for its simple story with an excellent lead performance, dark visuals and a sharp and witty screenplay that subverts expectations.
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‘Dicks: The Musical’ will garner one of two reactions: you’ll love or hate it. Anyone can spot the flaws in its drawn-out running gags and rudimentary aesthetic, but that still doesn’t stop the movie from being one hell of a fantastic time.
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No matter where that scenario goes though, from a purely artistic standpoint, The Exorcist: Believer is a fine achievement. It understands the horror standard on which it’s based to a notable degree, offers more than a few memorable moments, and delivers on being more than basic blockbuster horror.
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William Friedkin’s The Caine Mutiny Court-Martial succeeds in crafting a gripping drama with minimalist filmmaking techniques and devotes all of its focus to the riveting performances of Jason Clarke, Lance Reddick, and Kiefer Sutherland.
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Thanks to an incredible sense of visual skill and a terrific cast, Spy Kids: Armageddon revives one of the best family franchises in modern film history while still being game for the ultra-ridiculous fun the franchise is known for.
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