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Alien: Covenant takes a valiant attempt at re-creating the magic from the original, but ultimately falters from screenplay to screen.
With Take Me, actor Pat Healy brings his talent behind the camera, and in the process creates a delightful twist on the kidnapping narrative.
Overloaded with action and lacking in strong character moments, Dead Men Tell No Tales is an unworthy addition to the Pirates franchise.
Joan Crawford & Bette Davis’ feud is one of classic Hollywood legend; we look at What Ever Happened To Baby Jane and how they became rivals.
The Wall has a kick-ass ending worth shouting about- it’s just a shame the journey there is significantly less interesting.
Wakefield is an introspective and interesting examination into a man who willingly decides to isolate himself from his family and the world.
Chuck is the story of boxing legend Chuck Wepner, yet never quite manages to match the outsized metaphoric grandeur of the film it inspired.
People is a profoundly packed indie, with the intricacies of the human condition and relationships manifesting into a well-realized film.
David Lynch: The Art Life delves into the abstract world of Lynch, the artist. But while it intrigues, some mysteries still remain.
Despite some well-directed action sequences, Unlocked is mostly fleeting entertainment, inserting nothing new into a tired-out spy genre.
Released in cinemas for one night only, Logan Noir is every bit as bloody, brutal and essential as its brightly coloured counterpart.
The Dinner might have attempted to do too much with its source material, but Steve Coogan is phenomenal, in one of his best roles to date.
With Table 19, writer/producers Mark and Jay Duplass have added another light and breezy flick to their eclectic filmographies.
Starring Jessica Chastain in one of her best recent roles, Miss Sloane is a triumphant political thriller that only occasionally falters.
Guy Ritchie has joyously updated King Arthur with the same distinctive style as his Sherlock Holmes movies. Purists may want to look away.