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Normal (2025) review – Bob Odenkirk goes for broke in Ben Wheatley’s stimulating dark comedy that sticks the landing

The last time Bob Odenkirk collaborated with Derek Kolstad was for the sequel to their blood-soaked…

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Vidheyan (1994) review – A chilling deconstruction of power, privilege, and entitlement wrapped in a layered psychological thriller

Adoor Gopalakrishnan is a name you are bound to hear if you speak with a film…

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The Friends of Eddie Coyle (1973) review – Robert Mitchum delivers a career-best performance in Peter Yates’s gritty, underrated 1970s neo-noir

Too often overlooked, Peter Yates was a director of remarkable versatility whose career spanned an impressive…

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Outland (1981) review – Peter Hyams’ space-bound take on High Noon is a tense and compelling sci-fi western

Outland, Peter Hyams’ futuristic spin on High Noon (1952), is a taut, gripping sci-fi western set…

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Predator: Killer of Killers (2025) review – A visually striking, brutally violent, and meticulously crafted animated spectacle

As the sixth installment in the iconic Predator franchise, Predator: Killer of Killers, directed by Dan…

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Havoc (2025) ‘Netflix’ review – A slick neo-noir action thriller that fails to reach its full potential

Havoc, a neo-noir action thriller directed by Gareth Evans, features some slick action set pieces and…

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Darkman (1990) review – A highly stylized superhero origin story that is dark, daring, and distinctively Raimi

Based on a short story by Sam Raimi written as an homage to Universal’s 1940s horror…

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Elevator to the Gallows (1958) review – A hypnotic and atmospheric french noir, with Jeanne Moreau at her most captivating

At only 25, Louis Malle introduced the world to his cinematic vision with Elevator to the…

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Mickey 17 (2025) review – Bong Joon-ho’s ambitious sci-fi satire yields mixed results

Bong Joon-ho’s highly anticipated Mickey 17, his third English-language film, is an ambitious sci-fi comedy-drama that…

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Demon City (2025) ‘Netflix’ Review – A Slick but Generic Revenge Thriller

Demon City, directed by Seiji Tanaka, doesn’t break new ground in the “revenge thriller” subgenre, but…

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