Richard Whittaker

This is definitely one My Hero Academia adventure that should go back to the classroom.

If Villeneuve's grand and epic take evokes any earlier cinematic vision of Dune, it would be the first failed take, which would have seen director David Lean and writer Robert Bolt cross similar wastelands as they did in Lawrence of Arabia.

Mass takes the high school shooting drama out of the exploitation rut into which it has fallen, and instead turned it back into a story of people. It's a simple achievement to name, but an extraordinary one in its impact.

Maybe Halloween Kills will make more sense when the finale of the trilogy, Halloween Ends, gives those themes some context. But as a sequel to the deliciously absurd 2018 resurrection, it’s a ponderous bore, far-too-intermittently broken up by spurts of the franchise’s signature gore.

While never taking credit away from the other rescuers who also risked life and limb, The Rescue comes back to the bunch of self-described oddballs who got the kids out.

It’s not frustrating, but then, it’s not quite that engaging. It may spark a little light self-recognition among filmmakers, and that’s all Hansen-Løve seems to aim for.

So often, romance subplots in Texas noir feel like afterthoughts, there to increase a little bit of tension. But South of Heaven’s most meaningful moments are in the interplay between Lilly and Sudeikis as the star-crossed lovers with time most definitely not on their side.

Even if it beat Videodrome to the screen by two years, it's not quite the same level of must-see programming. It's fascinating, but less coherent, less scathing, and far more meandering.

It's this overstuffed storytelling, mixed with lackluster pacing, that renders No Time to Die a torturous misfire, and an utterly disappointing exit for Craig's Bond. I hate to say it, but this is Bond's Rise of Skywalker.

It's Gillies' performance that raises Coming Home in the Dark from fascinating to utterly chilling, complimenting Matt Henley's cold, angular cinematography and John Gibson's score, all reed instruments and long, clean draws over strings, like an icy wind blowing slow through dead grass and bones.

The story Surgal tells is ultimately fascinating but dry, deep but limited, and a lesson more than an experience.

Ultimately, Prisoners of the Ghostland is an OK film by a great filmmaker who has made truly great films, most memorable for its cast and the fact Sono finally made an English-language movie. Yet, when what's noteworthy about a film is just that it exists, it's more a vapor than an actual phantom.

It’s almost like a “what I did on my vacation” essay assignment, only with an A-list of arthouse directors, and so it inevitably feels disjointed, switching from drama to tone poem to documentary to video diary.

The audience is thrown into Zed’s world (or rather, worlds), and it’s Ahmed’s astounding performance that provides the through line. It’s OK to be lost, because Zed is.

The further director Vicente Amorim pulls out, the more exciting the film becomes; but he never really takes advantage of the supernatural overtones that swim around the edges, or the unique cultural background of Brazil's massive Japanese diaspora.

Beyond surprising thematic depth, The Old Ways is an exercise in putting every cent on the screen, and hiding what you don't need.

Director Amber Sealey gives the last word to Hagmaier, not Bundy. It's subtle, and may not be enough for the growing group of critics and viewers that worry that the cinematic obsession with serial killers ends up lionizing them, but it makes Bundy what he always was: pathetic.

The golden era of slashers was defined by vicarious, often overblown pleasures, while the mood of Candyman is overwhelmingly dour and gloom-cloaked. No surprise, considering the weightiness of the issues at hand. Yet there are pointed discussions between Anthony and others in the art scene about the relative power of overt depictions of brutality and metaphor, something that somehow eludes this Candyman.

Shang-Chi doesn't just pull off a fun western xuanhuan, but makes it feel like a door being opened for future Marvel films. Where Shang-Chi stumbles is in the script.

PAW Patrol: The Movie is bigger and prettier than the TV show, but it's still PAW Patrol. What makes it worth the time investment for kids is that it's really about introducing the street-smart long-haired Dachshund Liberty (Martin) into the team, while giving a little drama to Chase's life as he processes some old trauma about being a stray in the big city.

Habit is so desperate to be edgy that it loops all the way back around to derivative, and wastes any potential Thorne might have brought to play.

That energy placed into making the audience look and listen out to the edges of the film makes Beth's central placement even more vital and enthralling; and by moving to The Night House, Hall is finally given the space that every previous performance has shown she deserves.

Sometimes the heartstrings need tugging to an old, established rhythm, played here with simple charm by Zhu, and given high notes by Hu's dedication to highlighting what being profoundly dyslexic can mean.

Even if it becomes a little more familiar in the third act, especially to fans of that weird era of Nineties supernatural action thrillers like End of Days and Fallen, it's undeniable that Demonic rips open new technical possibilities for horror.

Grounded and sweet, delicately bawdy, and decidedly hilarious, CODA puts an effervescent and original spin on the coming-of-age comedy-drama.

6:45 is a deliberately uncomfortable watch, a loveless romance that’s left to bleed out again and again.

In its mix of angsty formalism and sing-along fun, Annette may be the closest that musical cinema has come to when Brecht and Weill put a knife in Macheath's hand for The Threepenny Opera.

Suicide Squad just never quite has the heart of Guardians.