United Kingdom
It’s undeniably flawed, but considering its mindbogglingly low £2,000 budget, The Bastard Sword is an impressive achievement.
The Merry Wives of Windsor can be enjoyed by all whether you are versed or have no knowledge of the works of Shakespeare.
Carried by the weight of Willem Dafoe’s performance, At Eternity’s Gate is not a bad film, but it is not an outstanding one either.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
Paris, Texas readily evokes a bit of the ruggedness of the Old West, reflecting the degradation of this vast country as much as the austere beauty.
“It Takes You Away” takes us to another foreign land, where the story is at times weak, but the script is always punchy and progressive, with unexpected twists, moths, and frogs throughout.
Mary Poppins Returns is the uninspired cash-in Disney have become synonymous with, posessing none of the endearing strangeness of the 1964 original.
Tasked with saving the day once again, the Doctor and her gang aim to put an end to literal witch hunts in 17th century England, while coming up against an army of possessed “witch” corpses.
While the Doctor and her gang save the day once again, “Kerblam!” plays with the subconscious fear of technology in the workplace, and its ability to take on tasks previously carried out by humans.
The Crimes of Grindelwald introduces us to a plethora of new characters, attempts to do too much with them, and then, unfortunately, overly relies on the nostalgic factor of the original films.
“Demons of the Punjab” takes us on a trip down a secret memory lane, as Yaz uncovers her grandmother’s hidden past, and the Doctor comes up against some assassin alien invaders.
With Slaughterhouse Rulez, it seems Simon Pegg and Nick Frost haven’t quite let go of the comedy/horror genre, only this time with a different director and with uneven results.
Widows is a thrilling, satisfying and breathtaking experience that toys with the conventions of the genre while bringing enough depth and surprises of its own.
Sacrifice is not as strong as Brown’s other work, particularly his fascinating previous effort The Push, but it’s still bound to get people talking.
The horror of the unknown, the horror of David, the horror of The Guest, all trace back to the simple question the film asks us and then leaves to fester: “Who is David Collins?”