Matt Maytum

Backrooms vibes-based momentum won’t be to everyone’s taste. For some there’ll be too much explanation and for others, too little. But it’s an intriguing, memorable creation with the power to rattle, as Parsons lurks in the intersection between dread and delirium. Well worth exploring.

The discomfort that’s baked into the premise of The Drama is amplified by disconcerting camera moves, cuts and audio choices, as well as Daniel Pemberton’s unsettling score. But despite all that, Borgli successfully plays things primarily for laughs.

If you meet Wuthering Heights on its own terms and give yourself over to Fennell’s bold vision, it’s hard not to get swept up in this gothic tale of toxic attachment.

The clarity, dynamism and sheer scale of the action is near enough unparalleled, and it’s hard to argue you don’t get your money’s worth. Still, Cameron is going to have to think outside the (Pandora’s) box and change the game for any future installments.

Compared to the average family-friendly animation, this is very much an upgrade.

It’s not the sort of family film you’ll wax lyrical about, but there’s enough colorful, chaotic, kid-friendly fun to amply entertain.

The MCU’s self-appointed messiah might not have pulled off a complete course correction, but he delivers an action-packed, gag-stuffed crowdpleaser that gives the franchise a much needed lift. Jackman is worth his weight in adamantium.

A solid performance by Quasem and an impressively gruesome early leg-munch aren’t enough to earn Something in the Water anything close to a recommendation. Avoid like a fin in a bay.

It never feels particularly different to what you’ve seen before, and doesn’t push any boundaries visually or narratively in the way its DWA stablemate Puss in Boots: The Last Wish did.

Writer/director duo Sam and Andy Zuchero take an admirably big swing with their feature debut Love Me, but it never engages emotionally in the way this kind of material needs to.