Rory Doherty

In its attempts to dodge Supermanic expectations, Superman reboot says both too much and not enough about its hopeful and optimistic main character.

It’s good to see Cage relishing his part – we know very well he’s perfect as someone losing grip with reality.

Owes its prize-winning success to how shrewdly Baker taps into the emotional extremes of labour and love.

Del Toro, Cera, Ahmed, Threapleton, Ayoade, Friend, and Wright – we chat with seven stars of Wes Anderson’s latest.

This year’s highlights – from the Palme d’Or winner to other recommended watchlist adds…

Alpha pointedly denies us the liberation of transformation central to the body horror genre.

Reporting from Cannes, we see how Wes Anderson’s latest illuminates how his House Style works.

Reporting from Cannes, we assess Eddington – which pits Joaquin Phoenix against Pedro Pascal.

Ben Affleck returns as the titular butt-kicking bean-counter – with Jon Bernthal along for the ride as his brother.

He’s been a mechanic. A farmer. A beekeeper. A diver, a driver, a… transporter?

Daniel Craig stars in William S. Burroughs adaptation, a voyage into discomfort and euphoria.

The most exciting film of the year so far, Soderbergh’s espionage film makes us feel like a spy *and* feel spied on.

In upscaling his vision to Hollywood blockbuster proportions, the trail-blazing Korean director sacrifices edge and poignancy.

There’s a freedom to Stephen King adaptation The Monkey that it gleefully and sadistically exploits.

Lengthy, weighty and visually enormous, The Brutalist is a big swing for the fences.

No real couple could dream of being as convoluted and dramatic as the plot of a British rom-com.

From Bridget Jones to Mike Leigh, Hamlet to Hamnet (?), 2025 could blow 2024’s mighty UK offering out of the water.

Owes its prize-winning success to how shrewdly Baker taps into the emotional extremes of labour and love.

“That was the intention. I was trying to bring them all together in one movie.”

The presence of Bill Skarsgård’s Orlok is when the film comes alive.

A colourless, weightless, and turgid flop, Kraven the Hunter is a timely reminder to studios that you get what you pay for.