The second coming of Trainspotting is a superfan-only affair, an inert nostalgia trip where the gang gets back together to do very little of note.
Despite a slow start, The Last Laugh offers a considerate, touching take on the ethics of black humour.
THE NICE GUYS hearkens back to a forgotten era of physical comedy and mile-a-minute dialogue to offer a smart, charming noir satire.
Sacha Baron Cohen’s latest endeavor is a tonally inconsistent and ineffective mess, with scattered impressive aspects.
Ryan Coogler’s Creed reinvigorates the tired Rocky franchise and invents new possibilities around Michael B Jordan.
Antoine Fuqua’s latest effort is an unfortunate hodge-podge of boxing movie cliches, failing to add anything new to the genre and falling short of cohering overall.
Though a complete stylistic triumph, PTA’s latest surprisingly suffers in the act of adaptation, sticking to an overly literal interpretation of Thomas Pynchon’s novel.
Like the plane crash at its epicenter, Daniel Grou’s Miraculum is an inexplicable tragedy, the kind of film you watch mouth agape, wondering how it was allowed to happen.
Though structurally simple, Frank Pavich’s film is an incredibly compelling look at the struggles of creating art and the influence of profit-margins on cinema, both then and now.
Love Eternal teases us with a number of morbid premises before settling into a dull arrhythmia of clichéd romance.