Aaron Yap

“Done with Contagion and need to expand your quarantine viewing?”

Noble but frustratingly uneven attempt to revitalise stale haunted house conventions.

One of the most uniquely deranged buddy movies to come out in quite some time.

Includes a film that runs for literally an entire day.

Having dug The Irishman, Aaron Yap ranks the best of a master filmmaker

Scorsese’s daggiest movie to date.

Should keep anyone with an appetite for bloodthirsty action satiated.

Off-kilter, visually striking, deliriously inspired in parts, and yes, stark-raving mad.

“Hopes, regrets and memories around mouth-wateringly packed lazy Susans.”

A much-needed gasp of air from tentpole franchises.

If you came for a doll saying profanities, this isn’t it.

The film is low-boil Soderbergh-lite.

This could have made for a rich, elegant, atmospheric horror flick.

“It’s impossible to watch all of this detached from the warped lens of how von Trier sees himself”

“A valuable inquiry into the curative power of canine company.”

There’s a lot more going on than in Get Out , notes Aaron Yap, impressed with its ambition.

Charged with the free-associative power of Nic Roeg at his most liberating.

Includes responses from critics, historians, auctioneers, and artists.

Every bit as quietly rapturous as his breakthrough 2016 Oscar champ Moonlight.

An 88min how-to in making something as exciting as Taking of Pelham 123.

Warning: this one will hurt.