Reviews

A classic “hero’s journey” arc, the usual impressive mo-cap performances, monkey religion…Apes 4 has it all.

A worthy, if overlong, successor to one of the finest trilogies in modern blockbuster storytelling.

Joel Edgerton keeps this Apple TV+ series grounded, without sounding like a vehicle for sci-fi gobbledegook.

Gloriously silly, modern family-friendly, fresh season of an old show about a new Time Lord

Stand-up Deborah Vance is more famous than ever—and desperate for the chaos that her mentee Ava offers.

The film’s humour is kind of dad-like, staged with unashamed dagginess. Maybe that’s the problem—a lack of shame.

With few genuine laughs and a poor hit rate of jokes, Unfrosted may as well be called Unfunny.

As the saga expands at full speed, are you right to have a bad feeling about this?

If this guy goes down, it’s with a lit stick of dynamite to hurl in his oppressors’ faces.

Aggravatingly bad jokes could be forgiven if the pic delivered incredible action. It does not.

Gosling and Blunt work hard to look effortless, in David Leitch’s wannabe-meta action-comedy.

Every bit as vital and engaging as the original series – in fact, an essential companion to it.

As a big, bombastic blockbuster starring two of the world’s most bankable stars, it’s a whole lot of fun.

An innocent-looking ballerina bares her fangs in this tiring horror, which takes way too long to reach its bloody climax.

Director Andrew Cumming kicks off his career with one of the most unconventional conventional horror films to come out of Britain.

Human interplay is more interesting than the movement of felt-covered rubber; good sporting drama equals good psychological drama.

“We must admit now that Snyder has a slow-motion problem, and it’s a bug rather than a feature.”

Park Chan-wook and Don McKellar are showrunners on adaptation of the Pulitzer Prize-winning novel.

Comedian Richard Gadd tells his true story of stalking and abuse through a disturbing, funny, addictive lens.

Wonderfully captures the games’ retro-futuristic aesthetic, darkly satirical tone and kick-arse action.

It’s not the individual scenes of Alex Garland’s film that make it scary: it’s the sheer plausibility of the premise.