While Peter Cattaneo’s The Penguin Lessons contains a memorable lead turn from Steve Coogan, one can’t wash the foul taste the film leaves with its ill-conceived trivialization of Argentina’s Dirty War.
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Despite a well-mounted cast and one of the best cinematographers working today contributing to the project, Alex Scharfman’s ‘Death of a Unicorn’ is yet another bad film from a studio that is in desperate need of reinvention.
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Disney has brought yet another live-action version of one of their classic, beloved stories to the silver screen in ‘Snow White’, a re-imagining that like its predecessors, fails to re-capture the magic of the animated original.
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While The Actor doesn’t reach its high ambitions, Duke Johnson’s surreal thriller mostly works thanks to a highly committed and nuanced performance from André Holland.
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Mark Anthony Green’s ‘Opus’ recycles the aesthetics and tropes A24 has firmly established itself upon and may accidentally reveal that their brand of “elevated” independent entertainment has grown stale after over a decade of films on the big screen.
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Thanks to a magnifying lead turn from Susan Chardy, Rungano Nyoni ensures you will not forget ‘On Becoming a Guinea Fowl’, as one of the year’s most important movies.
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In this story of the past coming back to haunt an opera director during a production of ‘Salome’, director Atom Egoyan gives us ‘Seven Veils’, a film which is all that Egoyan fans could ask for.
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After directing the best picture winning parasite, director Bong Joon Ho returns with ‘Mickey 17’, a wholly original sci-fi film that further showcases his talent behind the camera and knack for compelling storytelling.
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Paolo Sorrentino looks at youth’s deepest regrets as time goes by in ‘Parthenope,’ a study on how we we choose to spend the finite period we have on this planet.
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There more than a little Monkey-business going on, as Director Osgood Perkins’ latest film, ‘The Monkey’ is certainly not on the level of his ‘Longlegs’, as the film struggles with tonal coherency.
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Marvel kicks off their exciting 2025 lineup with ‘Captain America: Brave New World’, a sequel that doesn’t break any thrilling new ground, but delivers a strong, street-level MCU film that should please fans and casual viewers.
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With films under his belt such as ‘The Black Phone’, ‘Sinister’ and ‘Doctor Strange’, director Scott Derrikson should be an exciting, much talked auteur. Instead ‘The Gorge’ merely adds another film in a growing list of visually stunning yet ultimately flawed films.
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Renée Zellweger gives her best and most vulnerable performance of Bridget Jones in the fourth instalment, ‘Mad About the Boy’ which pieces the titular character’s life back together in the wake of insurmountable loss.
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Ke Huy Quan finally has an action vehicle to his name with ‘Love Hurts’, but his effervescent performance sadly can’t overcome the many hurdles this 83-minute-long affair is sadly stuck in.
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‘Heart Eyes’ combines a Valentine’s day rom-com with a traditional slasher, but neither side of the coin creates any luck for the film.
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Amy Schumer and Tyler Spindel destroy the joyful nature of screwball comedies with the horrifically unfunny ‘Kinda Pregnant’, which gets progressively worse as its eternal ninety-minute runtime stretches to unbearable heights.
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Christopher Abbott’s towering lead performance elevates ‘Bring Them Down’ from petering out, but the film itself leaves a lot to be desired when it unjustifiably switches perspectives halfway through.
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Walter Salles attempts to denounce Brazil’s military dictatorship in his family drama ‘I’m Still Here’ but accomplishes very little despite a committed performance by Fernanda Torres.
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Mel Gibson is back in the director’s chair for his new thriller ‘Flight Risk’, a deeply disappointing and mediocre film that wastes his and everyone else’s notable talent.
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Keke Palmer and SZA make one hell of a comedic duo in the uproariously funny ‘One of Them Days’, a perfect January surprise for moviegoers looking for pure escapism.
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