I've a feeling this film will go misunderstood by many.
And by those, I mean the ones who go in expecting this to be another Call Me By Your Name because this couldn't be further from Guadagnino's 2017 coming-of-age romance masterpiece.
Queer is a singular vision, and whilst its themes may feel typical of gay cinema, they've never been explored or dissected as they are here. It's a tale, or semi-autobiographical in the words of William S. Burroughs, of self-loathing,…
The most cringest, unrealistic character names ever.
Lily Bloom - ugh! "Free-spirt Lily Bloom dreams of opening her very own flower shop..." FUCK ALL THE WAY OFF!
Neurosurgeon Ryle Kincaid sounds like he was named by his severely dyslexic parents.
And, then you have this bozo, fucking Atlas Corrigan! ATLAS! Who on this earth names their fucking kid, Atlas?! It doesn't sound romantic or unique, just fucking stupid.
It Ends With Us is a smug and disingenuous vanity project that…
Designed to stun and confuddle, yet remains daringly original.
This is autuer Jacques Audiard most ambitious project yet, it swings big and hits most of its bases. It is a musical odyssey, a trans woman's story, a tale of redemption, a cartel thriller fused with telenovela theatrics, it's about cultural identity and the exploitation of those on the bottom line, a scream into the political corruot void, it explores hunan morals and how much one is willing to risk and…
A triumphant feat of musical movie magic.
Jon M. Chu does a stellar job of masterminding story, visuals, song, and well-judged emotional beats. The last ten minutes were the most enthralling and satisfying pieces of big screen cinema I've seen all year.
Cynthia and Ariana nail the iconic roles perfectly - they hit the notes effortlessly, bring charisma and charm, humour and heart, without missing a beat. It's an astonishing duet performance, and the film ends exactly where it's meant to do: leave you wanting much more.
If this doesn't get the Oscar love it so richly deserves, I'll eat a witches hat.
Let's be real, this is essentially a remake disguised as a sequel with lingering plot strands struggling to hold the narrative together.
Thankfully, it's not a particularly bad film. Not a great one, but as an entertaining big-budget extravaganza, it gets the job done. For Ridley Scott, he can pretty much make these films in his sleep - the bloody, bombastic action thrills, the set design is incredible, and it's gorgeously shot as per usual. Though, it's sloppily edited at…
Far less anemic than its predecessor largely due to its pacier plot, its gorgeously shot-on-location Rome setpieces, and Hans Zimmer's glorious score.
Otherwise, it's absurd nonsense as usual.
The visual of Ewan McGregor's Vatican priest parachuting out of an exploding helicopter cracks me up every damn time.
"I flew helicopter missions before I joined the priesthood..." - oh, um, I wonder what's gonna happen in the big action climax!?
My favourite bit was when Tom Hanks and Audrey Tautou solve a huge chunk of this supposedly thousands of years old mystery by using Google on a Nokia phone borrowed from a chav on a London double-decker bus.
Before the summer blockbuster was saturated with shared superhero universes and bloated multimillion tosh jumbled together by millennials in charge of the streaming giants, nobody expected Steven Spielberg's War of the Worlds to be somewhat, well, the last of its kind.
A singular, terrifying vision - Spielberg turns his signature cinematic magic into a grim, grey, often macabre, spectacle. The first hour is simply astonishing: the emergence of the infamous tripods, the human annihilation reminiscent of images of the holocaust,…
You've got to admire its ambition to upend serial killer thriller tropes and Willa Fitzgerald's unhinged and diabolical central performance is an absolute marvel.
Unfortunately, whilst JT Mollner's vision is original and full of twisted black humour, his execution is rather jumbled and shockingly vacuous. The non-linear narrative structure at first works well to pull the rug from underneath the viewers expectations, but come the second act, it all becomes a bit of a cop-out when it comes to ths…
The sound design alone will give you nightmares. One of the most influential horror films ever made.
A masterclass in cinematic technique and primal terror. The increasing and tightening foreboding horror and its power of suggestion is relentless - you know that these poor documentary filmmakers are not going to make it and witnessing their inevitable fear and hopelessness, makes for one unforgettable experience.
The authenticity of the performances and the attention to detail by director's Daniel Myrick and Eduardo Sánchez is what draws you into this spiralling nightmare and whilst often copied in the decades ever since, it remains utterly unmatched.