adventure
No Way Up still retains the entertainment factor, no matter its predictability and overarching absurdity.
Despite Aquaman’s need to make one last cannonball for the DCEU, he only makes a mild splash in a mostly empty pool.
The film is both historical and deeply personal in a way that will resonate with those who have been through similar experiences.
Wish is a Disney film with many Disney stuff but rarely features any of that Disney magic, reminding the audience of far better films.
Writer and Director Makoto Shinkai talks about his film Suzume, his influences, video games, mourning, loss and having an asteroid named after him!
Concrete Utopia stakes its claim as the heir apparent to Parasite and Squid Game and should have similar crossover appeal for international audiences.
Welcome to A Century in Cinema, the monthly column where I’ll be discussing films from…
This isn’t essential viewing, but as someone who thinks it’s perfectly okay to enjoy a messy movie, it’s fun and charming in the right places.
In the end, Firefly is full of not only wit, style and imagination, but a burning compassion for its characters, along with their individual differences.
You can make of The Mission what you will, as there is so much here to unpack in the middle of this tension. It’s undeniable.
Through its bleak beautiful cinematography and its off-kilter score, The Settlers is a riveting piece of work that will be among the year’s best films.
The Creator’s many impressive technical qualities are entirely mishandled, their import put above what a movie really needs: a good story.
Both P.P. Rider and Typhoon Club showcase many aspects of Somai’s signature style, Lee Jutton takes a look at both.
Strays is a mess of limited ideas, mined from the inebriated story idea, “What if a typical dog movie had more profanity and poop?”.
Prey offers an excellent example of less being more, especially in a series long known for its over-the-top dialogue and gory violence.