Genre Mastery and True Terror: Leigh Whannell’s The Invisible Man

The Invisible Man is a showcase for its writer-director’s obvious love and talent for genre cinema.

Richard Jewell (2019)

Eastwood’s gentle touch steers Richard Jewell towards sympathy at every turn.

Birds of Prey is a restlessly fun, unapologetically female action-comedy breathing new life into the DCEU.

It’s curious praise to note that a film makes you want to book a therapist’s appointment, but this is a curious film.

Monos is a surprising film, which is perhaps the best thing an arthouse film can be.

Hustlers is not only a raucously entertaining riff on gangster tropes – it also has its own perspective.

It might only be a minor adjustment to shift a story traditionally centred on teen boys to teen girls, but it makes all the difference.

Right from the get-go, Rocketman steps out as a musical, focusing on fun rather than facts.

The depth and ambiguity of Us’s underlying metaphors is thought-provoking in a way that eclipses its contemporaries.

This is a different kind of New York film.