Mark Strong
10,000 years before the ascension of Paul Atreides, DUNE: PROPHECY follows two Harkonnen sisters as they combat forces humankind’s future.
Full-time detectives Nick and Audrey are struggling to get their private eye agency off the ground. They find themselves at the center of an abduction.
It’s hard not to muse over whether any other performer this year can top what Cate Blanchett does in Todd Field’s Tár.
Cruella is a welcome return to the good, dark, bold filmmaking that we haven’t seen in a long time from Disney.
A live-action feature film following the evil exploits of Cruella de Vil, the villain from the Disney film, “101 Dalmatians’.
Stockholm is successful in doing the impossible – making the viewer understand and even empathize with the interpersonal connection between a hostage and her captor, and vice versa.
Shazam! is a walk-off grand slam in extra innings, feeling like a statement from a studio and director working so hard to finally get it all right.
Stockholm is based on the absurd but true 1973 bank heist and hostage crisis in Sweden as the origins of the ‘Stockholm Syndrome’.
With an engaging but slightly sluggish story, fine acting, and a committed crew, The Catcher Was a Spy mostly succeeds as both a tense espionage film and a biopic.
Matthew Vaughn’s sequel Kingsman: The Golden Circle is narratively unfocused but still contains enough excitement to keep you invested.
6 Days is a mostly well-made film based on true events, but its similarity to our current political climate makes it an uncomfortable watch.
Starring Jessica Chastain in one of her best recent roles, Miss Sloane is a triumphant political thriller that only occasionally falters.
It’s no secret that Sacha Baron Cohen makes comedies that age badly, no matter how well-regarded they are upon their release. His reputation as a satirist with his finger on the pulse of contemporary societal prejudices ensures that days and weeks after initial release they become regarded as documents of America’s unforgivable past. With Grimsby, Cohen makes his first British movie in fourteen years, after his execrable debut Ali G In Da House – and it is the first time his brand of social satire feels not just outdated, but tired prior to release.