Review – Godzilla: King of the Monsters (2019)
A Kaiju-stuffed calamity. The path towards Godzilla: King of the Monsters has been, for lack of a better word, pornographic. The
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Author: Cameron Frew
Review – Rocketman (2019)
Explosion of fantasy, theatrics and reality. “You gotta kill the person you were born to be to become the person
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Review – John Wick: Chapter 3 – Parabellum (2019)
‘Guns… a lot of guns.’ Keanu Reeve’s connection to the neo-western genre now goes beyond the prefix. In the latest
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Review – High Life (2019)
Bewildering, penetrative sci-fi. Endless blackness, an infinite stretch of both everything and nothing, mesmerizing but (literally) suffocating in its incomprehensible
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Review – Pet Sematary (2019)
The King renaissance hits a bump. There’s a sad irony in digging up and bringing back Stephen King’s horrific grief
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Review – Shazam! (2019)
Big meets Superman. “The bigger they are, the harder they fall” is the old adage. Just as DC were once
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Review – Us (2019)
Bonkers, dense and straight up scary. “Behold, I will bring evil upon them, which they shall not be able to
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Review – Escape Room (2019)
A decade-too-late entry in the deathtrap genre. Cast your mind back to 2006, where creative, gruesome dismemberment is a sure-fire
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Review – The Lego Movie 2: The Second Part (2019)
Mad Max: Fury Road on LSD. Once briefly a harmless jingle, inevitably becoming a near-perturbing earworm, 2014 was the year
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Review – Can You Ever Forgive Me? (2019)
Gripping, twisted, authenticated caper. There’s a scene in Can You Ever Forgive Me?where a self-applauding prig boastfully tells fellow authors that
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Review – How To Train Your Dragon: The Hidden World (2019)
A touching capper to an all-timer animated trilogy. Despite a jarring change to their classic pre-feature fishing reel, Dreamworks are
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Review – Alita: Battle Angel (2019)
Genuine spectacle rises above the scraps. Manga has had a tricky, often unsuccessful journey to the big screen. Look at
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Review – If Beale Street Could Talk (2019)
The streets have never felt so warm. Moonlight, a luminous, powerful look at the infliction of intersectionality on a black,
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Review – Glass (2019)
Fickle, hokey, silly; all the things it shouldn’t have been. M. Night Shyamalan’s tenure saw a downward spiral through the
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Review – Vice (2019)
Chaos confused with flourish. “How does a man go on to become who he is?” the narrator (Jesse Plemons) ponders
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Review – Roma (2018)
A divine vision, both inspiring and disquieting. Films, by their very nature, are a team effort. There are a colossal
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Review – The House That Jack Built: Director’s Cut (2018)
Muscular and mythical, tiresome and nauseating. You never forget your first, they say. Lars von Trier entered my life in
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Review – Beautiful Boy (2018)
An otherwise strongly performed piece suffocated by its director. Addiction is a curse. Addiction is a self-regulatory, horrific cycle. Addiction
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Review – Spider-Man: Into the Spider-Verse
First-rate Spidey meets world-class animation. Spider-Man: Into the Spider-Verse shouldn’t work. The stupefying, impossibly conceived action sequences beckon belief, the
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Review – The Old Man & The Gun (2018)
Cosy, unassuming caper with pure heart. There’s a scene in David Lowery’s previous film, A Ghost Story, in which two
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