United States
If you have children who are itching for a cinema trip during the spooky season, there have been much worse offerings than Goosebumps 2 in the past.
Night School is unforgiveably bland. It’s difficult to care about anything that happens, because the jokes are so flat, and the characters so dull.
The Old Man and the Gun is a love letter to many things: the 1970s/early ’80s, the aging outlaw trope so often seen in Westerns, and to film itself.
Better Start Running feels like a cliched indie – fitted head to toe with an ever-present oddball ensemble cast – taking to the road for an adventure.
Killer Kate! is silly and toneless – although flawed, it may be the calling card for debut filmmaker Elliot Feld for more suitable projects to come.
As glossy, glamorous and fast-paced as the auctions it focuses on, The Price of Everything is a fun look inside an elite world that few of us could ever imagine entering.
When the USA is safely within the next Democratic term of office, expect The Front Runner to be looked back upon more fondly; it’s mightily enjoyable political entertainment.
As a work of storytelling, Guadagnino’s reimagining of the canonical giallo is a boring mess with higher thematic aspirations than it’s able to realise.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
Studio 54 was blessed to be a documentary about something unendingly interesting, unfortunately, by taking on a big topic and failing to ever get specific,it fails to live up to its great potential.
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
I Still See You is another entry to the endless array of young adult fare, and it’s a near flop that doesn’t look to be boundary-defying, instead playing it safe.
Disquieting and deeply moving, Sadie takes its story to extreme lengths while still feeling utterly grounded in the emotional reality of its characters.
Avoiding the classic cliches of a grieving teenager, Nick Naveda’s debut Say You Will will pleasantly surprise any movie lover, perfectly capturing the feeling of loss and romantic confusion.
On the performances alone, Bad Times at the El Royale is worth your time and money, lending itself to justifiable reasons to revisit for multiple viewings.