action
Zhang Yimou’s Shadow is a different beast to Hero and House of Flying Daggers – but is every bit as essential.
Overlord is exactly what you would want and expect a movie about zombies created by Nazis to be: a deranged, disgusting delight.
Outlaw King is ambitious, striving for originality and historical accuracy, but overall fails to bring much to the table in terms of grounding its characters.
With Slaughterhouse Rulez, it seems Simon Pegg and Nick Frost haven’t quite let go of the comedy/horror genre, only this time with a different director and with uneven results.
Daredevil is still the stunner of Hell’s Kitchen, and of the Netflix Marvel world, with an adept season three that goes back to its roots, but also grows from them.
As Supergirl’s fourth season prepares for the reintroduction of Lex Luthor to a new generation, the series is as strong as it’s ever been.
Created by Mark Dennis and Ben Foster, Time Trap is a sci-fi/fantasy that starts with an interesting concept, yet turns into a jumbled mess of its own doing.
S. Craig Zahler’s loyal cult following will find much to love with Dragged Across Concrete, although first time viewers will find it a difficult watch.
Although Wunderland purports to be a sincere tribute to a real event, it never finds the time to say or suggest anything about war, courage, or death.
If you’re a fan or a newbie or just someone looking for a bloodbath of an action movie, move The Night Comes for Us to the very, very top of your list.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.
Better Start Running feels like a cliched indie – fitted head to toe with an ever-present oddball ensemble cast – taking to the road for an adventure.
Black ’47 isn’t a perfect film – the shaky characterisation prevents the emotional undercurrents from truly picking up speed. Regardless, it’s a fantastically captivating historical epic.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.