Not just the definitive account of the man behind the atom bomb, Oppenheimer is a monumental achievement in grown-up filmmaking. For years, Nolan has been perfecting the art of the serious blockbuster – crafting smart, finely-tuned multiplex epics that demand attention; that can’t be watched anywhere other than in a cinema, uninterrupted, without distractions. But this, somehow, feels bigger.

Sprinkled throughout are marketing messages (“Barbie means you can be anything”) that sound like they come straight from a press release. Gerwig is clever enough to deliver these with self-awareness and some sarcastic jokes (Mirren thanking Barbie for ending misogyny is a highlight), meaning the balance between reality and commercial is never lost. For a movie that ostensibly exists to promote a doll, this is laudable.

With heavy-handed plot lines about misinformation, trauma and the struggle of evolution, Bird Box Barcelona often feels like the writers have picked subjects from recent headlines and tried to craft them into a moralising horror film.

There’s more to Wilson’s film than dread though. In between the terror, the newbie director makes time for actual plot.

Dead Reckoning’s spectacular finale does well to bring things back on brand – seriously, the closing action tableau is as impressive as any you’ll see – but by then most will have stopped caring because their heads hurt.

This feature-length documentary makes for affecting viewing because it tells the duo’s incredible success story through the lens of their rock-solid friendship.

It’s a lively, enthralling tale with some particularly emotive scenes in the final act that are bound to cause a tear or two. Some will ask why make this film at all? The answer should be, why not?

A notch above its predecessors.

There’s a bit of perfunctory plot to get past – Rake has repressed guilt involving his ill son and ex-wife that needs resolving – but character development is not this film’s strong point. In fact, it’s often baffling.

A funny, action-packed and, of course, fast-paced adventure follows – with a surprisingly moving emotional centre.

It’s a heartbreaking story and all the more brutal for its surface-level simplicity.

Anderson and co-writer Roman Coppola have great fun with the idea, channeling 1950s B-movie vibes. Like all of Anderson’s work, it’s very affectionate, even if every camera move appears to have been calculated with the precision of a mathematical equation.

When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

As honest about his ups as he is his downs, it’s a rare thing to see a movie star being so earnest and grounded on camera. Through the film, Guggenheim helps Fox paint an endearing self-portrait of one of Hollywood’s last few nice guys.

You won’t catch a more satisfying horror film this year. Seek it out.

In the end, there’s no doubt you’re looking at someone who, as academic Jason King puts it, “represented a complete upheaval of the existing social system” – and that we’re still enjoying the fruits of that bravery.

It’s sometimes funny and emotionally effective when it counts, but also very, very dark, with some of the grimmest scenes of any Marvel movie.

As The Super Mario Bros. Movie progresses, it’s hobbled by a perfunctory plot and some lazy creative choices.

Tetris tells a cracking story, but it suffers from The Big Short effect – the thinking that no mildly complicated script is palatable without throwing every gimmick possible at it.

While the film doesn’t necessarily offer anything new for fans of the genre, Kill Boksoon is still a tremendously fun action-thriller that more than makes up for its formulaic blemishes with an abundance of superb set-pieces, engaging domestic drama and offbeat wit.


Smartly walking that line so that newcomers to this fantasy world and old hands who spent days playing the game can both enjoy, Honour Among Thieves is a satisfying romp. It’s a little formulaic in places, but on the flip side, it pulls some really weird moments out of its sack.

Stahelski may traffic in excess, but at least he understands it: how choreography, performance and style can make over-the-top spectacle cohere into pleasurably overwhelming action fizz, rather than congealing into a sweaty special effects overload.

A Good Person unfortunately won’t stand as Braff’s finest achievement, and while Pugh and Freeman each give strong turns with what they’re given, even they can’t save this patchy effort from misfiring.

Less a horror than an occasionally bloodthirsty character portrait, West dances us through the mind of a serial killer with a visual flair that soars on the big screen.

Unlike scmaltzy American romcoms, Allen-Miller never oversells the romance as something bigger than two Londoners out enjoying a crazy day together. Instead, she takes an everyday love story about normal people and injects some big-screen fun into it.

Fury Of The Gods gets a big, silly ending which is occasionally fun, but there’s a cheap and clumsy feel to everything – a superhero sequel made in the same vague shape as a dozen others.

Meet Me In The Bathroom makes for a lively snapshot of a very exciting period in rock history. Veterans and newcomers alike should check it out.

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.