The Predator (2018)
Shane Black’s sequel to Predator feels like it’s been made within a few years of its predecessor, not over three decades later.
The Death of Stalin (2017)
This satire of politician’s grotesque, gymnastic self-interest well and truly hits the mark.
Hearts Beat Loud (2018)
Hearts Beat Loud, a colourful indie pop film, finds it most joyous moments in its father and daughter jamming together.
Crazy Rich Asians (2018)
I’m a sucker for a good rom-com, and this certainly is one. Crazy Rich Asians is consistently entertaining, filled with good-looking people and decent jokes.
Kin (2018)
There’s no reason Kin couldn’t have used its sci-fi hook to examine the degradation of the American working class.
The Yellow Birds (2017)
The Yellow Birds isn’t so much bad as bland: an unforgiveable sin in today’s crowded marketplace.
Stop Making Sense (1984)
Stop Making Sense builds from a sparse stage and a cassette player into a triumphant, celebratory kaleidoscope of music and backup dancers and ridiculously oversized menswear.
Submergence (2017)
There’s much to admire about Wim Wenders’ latest film. But unfortunately, Submergence is sunk by its tedious story.
The Other Side of Hope (2017)
What turned me around on The Other Side of Hopewas how it married black comedy conventions with an empathetic, humanistic approach.
The Breaker Upperers (2018)
I love a lot about The Breaker Upperers.
Unfortunately, I don’t love the film itself.
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